Word: picassos
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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...
...benefactors, the Fogg set up a special exhibition in late September of this year entitled, "Heavenly Twins': Edward W. Forbes, Paul J. Sachs and the Building of a Collection." The exhibition draws from works the two men acquired over the years and features drawings by Corot, Durer, Degas, Picasso and many others...
...playwright who presumes to team Picasso with Einstein makes an implicit contract with the theatergoer: I'm going to provide intellectual pyrotechnics. As the two engage in their battle of wits, however, the drama begins to feel like a play of ideas without enough ideas. Picasso's one-liners aren't so much fireworks as kitchen matches. Martin has recklessly ventured into the country of Tom Stoppard, whose amazing Travesties (which convenes Lenin and James Joyce in Switzerland) may be seen as a rich ancestor of this poor relation...
...diverse roles (a seductive model, a brainy countess, a gushing "admirer") into one ditsy ingenue. As the wife of the bar's proprietor, Rondi Reed declaims, but does not convey, the pathos of a woman who bleakly sees through the egotism of much male solicitude. Hopper makes a sweet Picasso: you can believe he painted harlequins but not minotaurs. Most satisfying is Nelson as Einstein; a diminutive figure, he expresses something of an atom's compacted, ferocious potential energy...
Despite a few amusing gags, Martin's invention flags midway through Picasso. The play waits for a deus ex machina. And it gets one in Elvis, who materializes as a spectral time traveler come to discuss the shape of the 20th century with the people of Paris. What follows--the culmination of the play--is an enchanting vista, as Einstein and Picasso and Presley stand contemplating the stars. Where are we headed? The heavens are dark; the light is supernal; and the unlikely trio brings a pair of provocative messages. One: the old order is doomed; everything we live...