Word: moma
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Dates: during 1970-1979
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...down through the Tate Gallery (200), and the Galleria d'Arte Moderna in Turin (160). For a one-man show at the Moderna Museet in Stockholm he gets a 300, but one at the Musee des Arts Decoratifs in Paris is worth only 75; a show at MOMA brings 450, but a retrospective at the Whitney has no listed value. Yet the same show in the Jewish Museum in New York (now almost defunct as a place where serious modern art may regularly be seen) is inexplicably worth 300. Similar ratings are given for participation in group shows, appearance...
...world tends to pay its dues in a rush, and so it has done with Kelly. The MOMA show is accompanied by two new books on him. One text, by Artforum Editor John Coplans, is well-nigh impenetrable and reads as though creakily translated from German, though it is relieved by fine color plates (Abrams; $35). The other, the show's catalogue, is by Art Historian Eugene Goossen. It is what museum introductions should be but rarely are-warm and scholarly, steadily focused on Kelly's own experiences and their growth into form, and mercifully free from...
...Based on a smaller maquette he made ten years ago, the monumental piece is being fabricated in Cor-Ten steel and will go to the museum in early fall. Thus there will be two key Picasso sculptures in the U.S. (the other is the sheet-metal Guitar, 1912), and MOMA has them both, as presents from the artist. Picasso's evident fondness for the museum-which already has the best collection of his work anywhere-started a crop of new rumors about the possible destination of the huge collection of Picasso's own Picassos after his death...
...quantity of the Museum's Picasso collection, the retrospective reads like a standard textbook on the art of Picasso, a major volume on masterpiece and medium in twentieth century art. Every phase in his career--some unfortunately more than others--is represented by some artwork familiar to both MOMA habitue and reproduction monger alike. Transfixing one in either aesthetic or emotional horror, the famous "Les Demoiselles d'Avignon" (1907), flanked as it is by examples of the Iberian monumentality and primitivism Picasso assimilated into the savage proto-Cubism of his brothel scene, illustrates the creative process which brought...
...compatriot of Don Quixote, Picasso, too, possesses a Romantic belief unique among his contemporaries, in his case the notion that the creative spirit is supreme, that the man inside the artist's guise is most important. Regrettably, the MOMA's pedestrian predictability denies this aspect of Picasso's character. For all its wide scope, the show threatens to reinforce Picasso's statement that "museums are just a lot of lies...