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...Brancusi. But it took a personal and artistic crisis in 1923 to push him beyond ingenious deployments of volume and line. He took off for Mexico with his lover Tina Modotti and one of his sons. He spent the next three years rubbing shoulders with the muralist Diego Rivera, dodging the postrevolutionary turmoil and making pictures under the Mexican sun that specifies every object it falls upon. Among them were a series of vivid head shots, like his startling portrait of Manuel Hernandez Galvan, 1924, that use the subjects' plain vitality to confound the impassivity one expects from monumental figures...

Author: /time Magazine | Title: Photography: Peppers From Heaven | 11/24/1986 | See Source »

Shawn A. MacDonald '88 will take over leadership of the organization from outgoing president Victoria Rivera '88 in January. He ran against Elisa Fernandez '88 and Tse Ming Yang...

Author: By Julie E. Gibbons, | Title: PBH Elects New Officers | 11/17/1986 | See Source »

Under the Cherry Moon is about two American gigolos (Prince and Jerome Benton) who work in a cafe on the French Rivera and supplement their salaries by romancing the rich and lonely and their pocketbooks...

Author: By Christopher J. Farley, | Title: A Sweet Cherry Moon | 7/11/1986 | See Source »

...nature, this show can give only a faint impression of Rivera's achievements as a muralist. But his strength as a draftsman on the large scale can easily be assessed from the cartoons for the Detroit Industry frescoes. A drawing like Figure Representing the Black Race has a formal strength to match its chthonic allegorical power; it makes you realize what levels of graphic sophistication lay beneath the populist surface. Such is Rivera at his best, but even at his worst the man's kitsch and bad taste have an orotund wholeheartedness that seems endearing. His mock-surrealist landscapes...

Author: /time Magazine | Title: Art: The Tintoretto of the Peons | 6/9/1986 | See Source »

Perhaps it is time to amend the familiar high-modernist view of Rivera as a gifted painter deformed by the needs of propaganda. Sometimes his work was too openly didactic and coarse grained, too attached to populist stereotypes of love, comradeship, struggle and work. It offended the etiquette of alienation. Too bad--he was still an extraordinary painter, a lighthouse of vitality. Nobody could say Rivera kept a steady political line, but at least he was no ideologue; his socialism was instinctive and antitotalitarian, like Picasso's, but much deeper. Rivera gave Leon Trotsky asylum from Stalinist assassins (including...

Author: /time Magazine | Title: Art: The Tintoretto of the Peons | 6/9/1986 | See Source »

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