Word: portraits
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Dates: during 1980-1989
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...sold at auction. It had been put on the block at Sotheby's in New York City by heiress Linda de Roulet, whose brother John Whitney Payson had sold Van Gogh's Irises for $53.9 million two years before. It was a far better picture than the Picasso self- portrait, Yo Picasso, that had made a freakish $47.85 million last...
...currently see from a loan show of its holdings at the Frick Collection). At least one museum, the Getty in Malibu, Calif., with its $3.5 billion endowment and almost limitless spending power, seems unaffected by the rise in price. In May it was able to buy Pontormo's Portrait of a Halberdier at Christie's for $35 million and last week Manet's acridly ironic view of a flag-bedecked Paris street with a war cripple hobbling along it for $26.4 million...
...recourse for some museums is to raise funds by selling work from their permanent collections, as MOMA recently did. In order to purchase an indubitable masterpiece, Van Gogh's Portrait of the Postmaster Roulin, for an undisclosed price, the museum sold and exchanged seven paintings. But this encourages museum trustees to think of the permanent collection as an impermanent one, a kind of stock portfolio that can be traded at will: not a good omen...
Gypsy, a slapstick but chilling portrait of the ultimate stage mother, faithfully evokes the original Jerome Robbins production, including, alas, the cutesy, numbers-strung-together Arthur Laurents libretto. If Daly cannot quite dislodge from memory the performances of Ethel Merman and Angela Lansbury, particularly not as a singer, she rivals them as a force of nature. Coarse, thoughtless, unscrupulous and fierce, her Mama Rose is nonetheless just likable enough to explain why two daughters and a surrogate husband stick around so long and forgive so much. Among supporting players, only Jonathan Hadary, as Rose's agent and lover, excels...
...midst of this superabundance, when the image bank is bulging with deposits, photojournalism is poised at a moment that holds triumphs and complex dilemmas. During the 1980s, magazines began using more pictures and giving them bigger space. It may be that too many were celebrity portraits and glamour shots, but the galvanizing news image and the serious photo-essay were never squashed by the sparkle and hype that squeezed them. Magazines in the U.S. and abroad sheltered indispensable projects like Sebastiao Salgado's global survey of work, Alon Reininger's portrait of the age of AIDS and the essays...