Word: rubin
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Dates: during 1980-1989
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Organized by William Rubin, MOMA's director of painting and sculpture, "De Chirico"-75 paintings and 20 drawings on view until June 29-is the successor to the museum's retrospectives of Cezanne and Picasso. That is to say, it is a curatorial triumph, supported by a catalogue that surely will become a standard text on the artist. And his paintings-not incidentally-are of ravishing beauty. For the past 70 years, De Chirico's city has been one of the capitals of the modernist imagination. It is a fantasy town, a state of mind, signifying alienation...
...treat De Chirico solely as a dream-merchant precursor of surrealism does his early work a grave injustice. In his organization of the show, William Rubin contends that De Chirico survives as a painter within a specifically modernist framework, whose standards were generated in the 30 years before 1914 in Paris. That was "the city par excellence of art and the intellect," as De Chirico wrote, where "any man worthy of the name of artist must exact the recognition of his merit." Paris took young De Chirico, as it took young Chagall, and turned him from a naive provincial fabulist...
...group's members, in alphabetical order, are John Adler; William Doherty; Fred N. Gaines; S. Bernard Goodwyn '83; Laura Pollard; Jonathan D. Rabinovitz '83; Eric Reiff '85, Julia Rubin '84, and Joseph Schwartz...
...they absolutely spontaneous: he would often retouch the drip with a brush. So one is obliged to speak of Pollock in terms of a perfected visual taste, analogous to natural pitch in music-a far cry, indeed, from the familiar image of him as a violent expressionist. As William Rubin suggests in the catalogue to this show, his musical counterpart is not the romantic and moody Bartók: it is the interlaced, twinkling and silky surface of Debussy. No wonder that it took an enthusiasm for Pollock to provoke the re-evaluation of Monet's Water Lilies among...
After the kickoff, Azelby and Murrer teamed up again on Penn's first play from scrimmage. Quaker halfback Steve Rubin hit the right side of the line, which really meant that he hit Azelby, who knocked the ball loose, squibbing it through a series of falling bodies and into the paws of Murrer, who covered...