Word: picassos
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...absolute best in some wind-scoured distant city like Prague, raincoat crunched around him, hair blowing, lifting the hopes of more than 100,000 Czechs -- or in Paris, glad-handing his way through mirrored halls while the First Lady is off in the Grand Palais viewing one of Picasso's works, cocking her head this way and that, deciding "it had about 18 different ideas...
...case it would be idle to put his early work in the '40s and '50s on the same level as De Kooning's or Pollock's. He certainly shared the early Abstract Expressionist interest in primitive art, totems, archetypal forms. And its general legacy from '30s Picasso too: Pousette-Dart's Portrait of Pegeen, 1943 (the subject was the deeply neurotic teenage daughter of Peggy Guggenheim, his dealer), is heavily dependent on Picasso's Girl Before a Mirror. There is also a scary Expressionist insight to the chaotic congestion of Pegeen's head, staring at her reflection reduced...
...well, applying them not only to his playing and composing but also to a whole music-centered philosophy about American life and culture. Sitting in the sparsely furnished living room of his Manhattan brownstone, with three Louis Armstrong statuettes peering down from the mantelpiece, he confidently mingles allusions to Picasso and the Iliad with appreciations of Duke Ellington and childhood anecdotes. The hardwood floor is littered with the toys of his two sons, Wynton Jr., 2, and Simeon, six months; their mother Candace Stanley, 28, is doing postgraduate work at New York University. (Marsalis has put the four-story house...
...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 old comic strips, since what mass taste really likes these days is Van Gogh and Picasso...
...which they relate can only get into the museum as emblematic snippets, without the casual encircling power it once had. To popular culture the '70s are already medieval and the century's teens virtually Pleistocene. The curators do their best with this, reprinting front pages of Parisian newspapers that Picasso, Braque and Gris cut their collage materials from, or hanging photographs of the kinds of shopwindow display that, they persuasively argue, reinforced the cult of the Surrealist object in the '20s. But the effort to put long-gone popular culture in a museum is like trying to resurrect...