Word: miro
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...doodling was morphed by the Surrealists, especially Max Ernst and Andre Masson, into what they called "automatism." His striped landscapes and magic-square paintings connect to Constructivism. His closely controlled but wandering line--"The line likes to go for a walk," he famously remarked--was an inspiration to Joan Miro. His late gestural paintings, with their thick brooding darkness and emphatic signs, such as Secret Letters, 1937, meant a great deal to American modernists like Jackson Pollock and Adolf Gottlieb. All in all, a tremendous amount of Klee's DNA was wound into the spiral of modernism, not only from...
Which other artists did he resemble? Not many, it turns out. Miro, in brief flashes. You could think of Westermann's strand of buckeye Surrealism and make him out to be a wood-butchering cousin of Joseph Cornell's, except that he didn't have Cornell's haunted preciousness, his extended nostalgia for a dream Europe. While Cornell was fantasizing about long-dead French courtesans like Cleo de Merode and building mossy palaces for paper owls, Westermann was chopping dovetails, perfect ones at that, and constructing scary, haunting emblems of death, loss and love...
...Miro Cohen stayed up all night searching for two missing 14-year-olds. The sheep farmer who doubles as security officer for the small West Bank settlement of Tekoa figured Yossi Ishran and Kobi Mendel had just gotten lost as they hiked through the desert. Then, at 5:30 a.m., his walkie-talkie crackled with terrible news: the boys had been found dead. "Were they shot or stabbed?" Cohen asked. The caller hesitated. "It's worse than that," he said. "Come and see, Miro...
...august age of 92, as one of the great artists of the 20th century. He knew many of them and swam in the same water as they did, but he was not a giant fish like Picasso, Matisse or even his friend from early days in Paris, Joan Miro. Nevertheless he was a good artist, very good at times, though his later work fell far short of his best, most of which was done in the 1930s-50s. And he was, to all intents, the last celebrity of the old School of Paris--not quite a central figure but able...
...though Miro or Matisse is about to vanish into the oubliette--that isn't in the cards. The 20th century has seen great artists whose work and names, as the eulogists say, will live forever. But the Guggenheim's show makes you think of the impending fate of our present. It is a lead-pipe cinch that the year 2100 will see the absurdities of our taste, both private and official, and wonder how we could have been so comically wrong about such self-evident crap. A few score years from now, will Jeff Koons' porcelain confections be on view...