AO Art Observed™

Still Life With Old Shoe (1937), Joan Miró via NYTimes

Joan Miró: Painting and Anti-Painting 1927–1937 at MoMA is the first major museum exhibition to display the chronological process of Miró’s practices and ideologies used to attack conventions and disrupt market values in this vital decade. The exhibition uses Miró’s 1927 claim of “wanting to assassinate painting” as its launch point to explore his lineage in 12 groups, which includes 90 paintings, collages, objects, and drawings. The exhibition takes a step-by-step perspective of the reinvigoration and radicalization of Miró’s sustained series. Additionally the exhibition is symptomatic of the European reaction to the end of the roaring twenties and insemination of political tensions that would culminate in 1939. The exhibition begins with a group of works composed on unprimed canvas and concludes with a single painting from 1937: Still Life with Old Shoe and is culmination of works created in Paris, Montroig (a rural village on the coast of Catalonia), and Barcelona. The exhibition is organized by Anne Umland the Curator or the Department of Painting and Sculpture at the The Museum of Modern Art. It will be on view in The Joan and Preston Robert Tisch Gallery, sixth floor, from November 2, 2008, through January 12, 2009.

MoMA Opens Exhibition Focusing on the Transofrmative Dcade of Joan Miró’s Work [ArtDaily]
Joan Miró: Painting and Anti-Painting, 1927-1937 [TheArtNewspaper]
Angry Young Man [TheNewYorker]
Miró, Serial Murderer of Artistic Convensions [NYTimes]
Joan Miró: Painting and Anti-Painting 1927-1937 [Museum of Modern Art]
Miró, Miró on the Wall [ArtNet]

Woman (Opera Singer) (1934), Joan Miró via NYTimes

Curator Anne Umland explains: “This exhibition takes a close-up, in-depth look at a decade’s worth of Miró’s work, created during a period of economic and political turmoil, illuminating the way his drive to assassinate painting led him to reinvigorate, reinvent, and radicalize his art. The resulting body of work is at times willfully ugly, and at others savagely beautiful. It brings together both beloved masterpieces and largely unfamiliar works, transforming our understanding of Miró’s legacy for our own twenty-first century times.” via ArtDaily

Rope and People I (1935), Joan Miró via ArtNet

Painting-Object (1931), Joan Miró via NYTimes

Painting-Head (1930), Joan Miró via NYTimes

Un Oiseau Poursuit Une Abeille Et La Baisse (1927), Joan Miró via NYTimes

This entry was posted on Saturday, November 8th, 2008 at 5:24 am and is filed under Go See. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.