Word: studio
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...real, but only Ted can see him. As Mishkin describes him, "he's all charm and cute on the outside, but inside he's pure devil." In a complex play on the concept of the Muse, Waldo inspires Ted to create a like-named cartoon character for the animation studio his brother Al runs. While "Waldo" becomes a national icon, Waldo sends poor Ted to the bottle and in and out of sanatoriums. Paralleling this are the lives of Al, the pragmatic, artless businessman, Lillian, Ted's love interest and Al's mistress, Windsor Newton the pioneering animator, and Nathan...
Even if Rockwell's designs never enter the architectural canon, he has fans in unusual places. He has collaborated with Diller + Scofidio, the most cerebral, academic architectural studio of the moment. (It has just beat out several big-name firms in a competition to design the Institute of Contemporary Art in Boston.) Rockwell invited Diller + Scofidio to work on a project that was never built, but the two firms got on so well that they worked together on building a viewing platform at ground zero in New York City...
...wrote on color theory in painting, stressing its link to the spiritual. He saw his paintings as icons, channels to another reality; their colors did not need to be realistic. Who are these masked women stiff against a striped landscape as flat as the backdrop in a photographer's studio? Perhaps they are people in the new earth Malevich has seen, one colored by mystery, self-possession and a bucolic beauty. What emotion does the work convey? The innocent shock of another world of color...
...most important of the 20th century - "because all the greatest artists of the century were connected with it." With 500 paintings and sculptures, the show documents the whole range of Surrealism's vast output in pursuit of surprise and mystery. It even exhibits an entire wall from the Paris studio of Surrealism's ideological father, André Breton, hung with 44 years' worth of his bizarre memorabilia and his own collection of Rousseau, Kandinsky...
...Breton handbook. But in 1933 Miró declared: "I am always concerned with the composition of a painting, not just the associations - that is what [now] separates me from the Surrealists." Magritte himself ditched the Paris circle after Breton, at a gathering of the fraternity in his studio, asked Magritte's wife to remove the crucifix from around her neck...