Word: miro
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Dates: during 1990-1999
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...interrupted work of imagination be completed decades after its creator is gone? In the years since Gaudi's death in 1926, such admirers as architects Le Corbusier and Walter Gropius and artists Joan Miro and Antoni Tapies have demanded a halt to construction, which has been under way in fits and starts since 1882. Continuing to work on the building, contends architect Josep Anton Acebillo, is "like adding arms to the Venus de Milo." Nonetheless, the building continues to be financed privately -- and enthusiastically -- by contributors ranging from Catalan nationalists to Japanese businessmen to American tourists...
...idea that "low" sources somehow debase the integrity of "high" art is moonshine, of course. It always has been: Goya's Caprichos, for instance, draw heavily on folk proverbs, crude popular drama and 18th century (mainly English) caricature. Miro was inspired by comic strips and folk scatology. And Philip Guston in the 1970s was able to attain his measure of greatness as a tragic painter only through a free, uncondescending use of motifs from George Herriman's great strip Krazy Kat and the underground comics of Robert Crumb. Nor can MOMA be accused of pandering to mass taste by exhibiting...
...virtual icon of national identity: "Consider the woman in Sunyer's Pastoral -- she is the embodiment of the landscape; she . . . is not there by chance: she is destiny." It was out of that conservatism -- the cult of the parental farmhouse as the model of Catalan society -- that Joan Miro (before he reacted into surrealism) created his detailed and almost fanatically ordered images of life on his father's property at Montroig, whose climax is The Farm, 1921-22. This is the first exhibition to give Catalan Noucentisme its due place in the general pattern of modern art, and for that...
...Joan Miro sculpture towers over Barcelona's Parc de l'Escorxador, its riotous colors glinting in the sun. Around it, grandmothers in sneakers, stocky shopkeepers and children in starched frocks join hands. A brass band brays for a slow-motion minuet. Toes out! Toes in! Deliberately, then merrily, 500 people count steps. The sardanas are courtly affairs, far removed from the stomping passion of Spanish flamenco. Under the Franco dictatorship, the dances were banned as subversive evidence of Catalan nationalism. But now, on Sunday afternoons, they are as ubiquitous as barbershop quartets at Iowa county fairs. "They're a sign...
...same mild frustration is built into his even more spaced-out images from the '70s, in which legible but quite unrelated signs for things float on a field of color in a way that very distantly recalls Miro. Cadillac/Chopsticks, 1975, is just what it says: the rear-half profile of a '60s Caddy, bulbous with fins, and in the lower right a red X depicting a pair of chopsticks. Nothing else. One is not much helped by the otherwise useful catalog essay of Ned Rifkin, to whom, it seems, Moskowitz "revealed that the Cadillac might represent Hollywood glamour...