{"id":1035,"date":"2008-10-31T11:40:37","date_gmt":"2008-10-31T18:40:37","guid":{"rendered":"http:\/\/bigjimindustries.com\/wordpress\/index.php\/2008\/10\/miro-delivering-his-blow\/"},"modified":"2008-10-31T11:42:02","modified_gmt":"2008-10-31T18:42:02","slug":"miro-delivering-his-blow","status":"publish","type":"post","link":"https:\/\/bigjimindustries.com\/wordpress\/2008\/10\/31\/miro-delivering-his-blow\/","title":{"rendered":"Mir\u00f3 Delivering His Blow"},"content":{"rendered":"<p><span class=\"Apple-style-span\" style=\"font-style: italic\"><a href=\"http:\/\/www.nytimes.com\/2008\/10\/31\/arts\/design\/31miro.html\" target=\"_blank\">from the New York Times<\/a><\/span><\/p>\n<p><span class=\"Apple-style-span\" style=\"font-size: 13px; line-height: normal\"><\/span><\/p>\n<p class=\"kicker\" style=\"font-weight: bold; color: #666666; text-transform: uppercase; margin-top: 15px\"><nyt_kicker>ART REVIEW | JOAN MIR\u00d3 AT MOMA<\/nyt_kicker><\/p>\n<h1 style=\"font-size: 180%; font-weight: bold; margin-top: 3px\"><nyt_headline version=\"1.0\" type=\" \">Mir\u00f3, Serial Murderer of Artistic Conventions<\/nyt_headline><\/h1>\n<p><nyt_byline version=\"1.0\" type=\" \"><\/nyt_byline><\/p>\n<p class=\"byline\" style=\"font-weight: bold; font-size: 10pt\">By\u00a0<a href=\"http:\/\/topics.nytimes.com\/top\/reference\/timestopics\/people\/c\/holland_cotter\/index.html?inline=nyt-per\" title=\"More Articles by Holland Cotter\" style=\"color: #000066\" target=\"_blank\">HOLLAND COTTER<\/a><\/p>\n<p>Amputate tradition, torture the past, terrorize the present. The impulse to destroy was part of what made early Modern art the guerrilla movement it was.<\/p>\n<p style=\"color: black; font-size: medium; line-height: 24px\"><span class=\"Apple-style-span\" style=\"font-size: 13px; line-height: normal\"><a href=\"http:\/\/www.nytimes.com\/slideshow\/2008\/10\/31\/arts\/1031-MIRO_index.html\" target=\"_blank\" title=\"click to view slideshow of Mir\u00f3 @ MOMA\"><\/a><\/span><\/p>\n<p><a href=\"http:\/\/www.nytimes.com\/slideshow\/2008\/10\/31\/arts\/1031-MIRO_index.html\" target=\"_blank\" title=\"click to view slideshow of Mir\u00f3 @ MOMA\"><\/a><\/p>\n<p><a href=\"http:\/\/www.nytimes.com\/slideshow\/2008\/10\/31\/arts\/1031-MIRO_index.html\" target=\"_blank\" title=\"click to view slideshow of Mir\u00f3 @ MOMA\"><\/p>\n<p style=\"text-align: center\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/graphics8.nytimes.com\/images\/2008\/10\/30\/arts\/25589801.JPG\" border=\"0\" width=\"450\" height=\"360\" \/><\/p>\n<p><\/a>Cubism sentenced illusionistic art to the Death by a Thousand Cuts. Dada unleashed an anti-aesthetic Reign of Terror: Beauty? Off with its head. Decay? Let\u2019s have more. Surrealism, a slippery business, let the killer instinct run amok. Tossing manifestos, dreams and libidos like bombs, it aimed to bring Western civilization to its knees and keep Andr\u00e9 Breton in the news.<\/p>\n<p><a href=\"http:\/\/www.nytimes.com\/slideshow\/2008\/10\/31\/arts\/1031-MIRO_8.html\" target=\"_blank\" title=\"\u201cWoman (Opera Singer),\u201d 1934 by Joan Mir\u00f3\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/graphics8.nytimes.com\/images\/2008\/10\/30\/arts\/25589823.JPG\" border=\"0\" hspace=\"15\" width=\"222\" height=\"333\" align=\"right\" \/><\/a>\u00a0So in 1927, when Joan Mir\u00f3 said, \u201cI want to assassinate painting,\u201d he wasn\u2019t saying anything new. What was new was the way he carried out his cutthroat task. That process is the subject of \u201cJoan Mir\u00f3: Painting and Anti-Painting 1927-1937,\u201d an absorbing, invigorating and \u2014 Mir\u00f3 would be mortified \u2014 beautiful show at the Museum of Modern Art.<\/p>\n<p>The exhibition illustrates, step by step, exactly how Mir\u00f3 stalked and attacked painting \u2014 zapped its conventions, messed up its history, spoiled its market value \u2014 through 12 distinct groups of experimental works produced over a decade. If, in the end, painting survived, that\u2019s neither here nor there. The story\u2019s the thing. Crisp, clear and chronological, the show reads like a combination of espionage yarn and psychological thriller set out in a dozen page-turning chapters.<\/p>\n<p>In 1927 Mir\u00f3 was 34. He was a successful artist and an early devotee of Surrealism, working in a polished, fantastical-realist mode. But he had a restless temperament and lived in provoking times. The high-flying 1920s were winding down, the political climate was growing tense. Surrealism, he discovered, had limitations. He was ready for a radical change in art, but he realized that he would have to create it himself. He decided it would take the form of a crime. Painting would have to go. He would deliver the blow.<\/p>\n<p>[ <a href=\"http:\/\/www.nytimes.com\/2008\/10\/31\/arts\/design\/31miro.html\" target=\"_blank\">click to continue reading at NYTimes.com<\/a> ]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>from the New York Times ART REVIEW | JOAN MIR\u00d3 AT MOMA Mir\u00f3, Serial Murderer of Artistic Conventions By\u00a0HOLLAND COTTER Amputate tradition, torture the past, terrorize the present. The impulse to destroy was part of what made early Modern art the guerrilla movement it was. Cubism sentenced illusionistic art to the Death by a Thousand [&hellip;]<\/p>\n","protected":false},"author":26,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[3],"tags":[],"class_list":["post-1035","post","type-post","status-publish","format-standard","hentry","category-culture-art"],"_links":{"self":[{"href":"https:\/\/bigjimindustries.com\/wordpress\/wp-json\/wp\/v2\/posts\/1035","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/bigjimindustries.com\/wordpress\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/bigjimindustries.com\/wordpress\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/bigjimindustries.com\/wordpress\/wp-json\/wp\/v2\/users\/26"}],"replies":[{"embeddable":true,"href":"https:\/\/bigjimindustries.com\/wordpress\/wp-json\/wp\/v2\/comments?post=1035"}],"version-history":[{"count":0,"href":"https:\/\/bigjimindustries.com\/wordpress\/wp-json\/wp\/v2\/posts\/1035\/revisions"}],"wp:attachment":[{"href":"https:\/\/bigjimindustries.com\/wordpress\/wp-json\/wp\/v2\/media?parent=1035"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bigjimindustries.com\/wordpress\/wp-json\/wp\/v2\/categories?post=1035"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bigjimindustries.com\/wordpress\/wp-json\/wp\/v2\/tags?post=1035"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}