Word: miro
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Dates: during 1990-1999
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...When Miro and Nives, two battle-hardened Sarajevan refugees, joined me for a screening of Welcome to Sarajevo, we all expected to engage in a fair share of sarcastic rib nudging and eye rolling. How could any film capture what I felt in the summer of 1994, for instance, when I watched antiaircraft rounds pierce a tram like a sardine can, and then rushed to Kosevo Hospital to interview the wounded--including a man who had not yet realized that his wife was dying on a nearby operating table? And how much less could any movie mirror that couple...
...shoe is on the other foot. The Americans are coming and bringing with them the attitudes of a society mired in the complacency of mass consumption. Elderly American tourists crowd the art museums looking for Diego Velazquez and Joan Miro prints to send home to the family, snapping photos ransacking gift shops along the way. At night, everybody straggles home from the bars and discotheques, but it is the Americans who are singing...
...builds on earlier art, de Kooning's no less than most. Part of its strength was in its rootedness. The big senior influences on his early American work were Ingres, Miro and Picasso--and among his contemporaries, the tragically fated Gorky, who would kill himself in 1948. "I am glad that it is about impossible to get away from his powerful influence," de Kooning wrote soon af-ter Gorky's death, and the Armenian painter's recurved, taut line, describing edge and implying volume in a single gesture, was preserved in the Dutchman's work. In fact, de Kooning...
Museums and companies, of course, have long hawked vases by Picasso, textiles by Miro and tiles by Dal?. None, however, has utilized the idea quite like Art Matters Inc., a New York City-based foundation that supports artists. Since 1985 the foundation has distributed $3 million to 3,000 artists, helping pay for such works as Paris Is Burning, Jennie Livingston's 1990 film about transsexuals and drag queens. The group has also aggressively battled cuts in federal arts funding, taking part, for example, in a successful 1990 lawsuit to prevent the nea from denying funding to artists just because...
...interest in most new European art; the New York School pushed it off the radar screen, and it apparently lost the mandate of art history. The new, swelling museum culture in the U.S. tended to ignore it. In the early 1950s the prewar masters remained-Picasso, Matisse, Braque, Lager, Miro-but who was going to pay much attention to insipid French abstractionists like Hans Hartung or Alfred Manessier in the face of what Jackson Pollock or Willem de Kooning were doing...