Word: miro
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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...
...divided into three parts. To the ordinary historian, they are eastern, middle and western. But that misses all the savor. As Nathan Longfort identifies them, the subdivisions are the Lost State of Franklin, the area in the eastern part of the state that was once part of North Carolina; Miro, once governed by Spaniards, in the center; and the Purchase, farther west. Similar distinctions apply to families. On his mother's side, Longfort is a Virginia- Tennessean, on his father's, a Carolina-Tennessean. You can tell the difference by whether a person refers to a cabinet as a "cupboard...
Nevertheless, Dali was an important artist for about 10 years, starting in the late 1920s. Nothing can take that away from him. Other Surrealists -- especially Max Ernst and Dali's fellow Catalan Joan Miro -- were greater magicians; but Dali's sharp, glaring, enameled visions of death, sexual failure and deliquescence, of displaced religious mania and creepy organic delight, left an ineradicable mark on our century when it, and he, were young. Dali turned "retrograde" technique -- the kind of dazzlingly detailed illusionism that made irreality concrete, as in The First Days of Spring, 1929 -- toward subversive ends. His soft watches will...
...Picasso reached a height of imitative flattery with his pastiches of the older painter's massive "classical" women in white fluted dresses. Likewise, when Dali the Surrealist was pupating, there was hardly a trope in his pictures of 1927-28 that didn't come out of Andre Masson, Ernst, Miro or Yves Tanguy...