Word: miro
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...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...
...worked themselves into a greater frenzy than usual over Castro's fate. Miami's Spanish radio stations dedicate hours of airtime to speculation that Castro's regime will collapse. Some emigres are even preparing to sell their property and return to their homeland. To Miami Herald columnist Sergio Lopez-Miro, such actions constitute "wishful thinking cum madness." Or call it hope -- the same hope that people like the Fidelista in Santiago have been searching for in the dark. Uva Clavijo, a Miami-based fiction writer who came to the U.S. in 1959 at the age of 15, has decided...
...change in the style of American painting that, though it seems less momentous now than it did 20 years ago, was quite decisive. This was the passage from De Kooning-style "gesture" (the most imitated side of '50s painting) to allover soaking and staining, derived from Pollock and Miro via Frankenthaler. No doubt, in the end, even the toughest woman artist shrinks from constantly hearing that she painted a "seminal work," but Frankenthaler's Mountains and Sea, 1952, was certainly generative. It was the picture that provoked American color- field painting...
...early Dali was a different matter, an insecure and ravenously aggressive young dandy, wringing an uncanny poetry not only from his own neurosis but also from the psychic inflammations of Europe in the 1920s and '30s. Like his fellow Catalan Joan Miro, Dali was deep-dyed with images of place, among them the contorted rocks and flat beaches of the coast near the town of Figueras, where he grew up, and the flowing, bizarre buildings of Barcelona's master of art nouveau, Antonio Gaudi...