Art Is Dead-Long Live Art: Within a Structure That Continues to Challenge the Conception of Built Form, Two Concurrent Exhibitions at the Centre Pompidou Challenge Our Perception of Art

Gregory, Rob, The Architectural Review

JOAN MIRO (1917-1934)

Shifting between recognizable subtleties of Abstraction and Surrealism, the period of Joan Miro's work between 1917 and 1934 was a frantic phase of development in which he pursued his mission to put to death the conventions of modern painting. Wanting to smash the guitar of the dominant Parisian Cubists, to murder their art, Miro saw pictorial convention as poison, and instead sought the art of the concept. By extending the mechanisms of Cubist representation--planar faceting, skewed perspective, and the multiple viewpoints of space/time--Miro audaciously generated a new and complex iconography based on quadrants, vectors, script, and primitive abstracted figures. Challenging conventions of representation, subject/object relationship, and--of particular interest to the spatially sensitive--perspective, his work is impossible to …

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Publication information: Article title: Art Is Dead-Long Live Art: Within a Structure That Continues to Challenge the Conception of Built Form, Two Concurrent Exhibitions at the Centre Pompidou Challenge Our Perception of Art. Contributors: Gregory, Rob - Author. Magazine title: The Architectural Review. Volume: 215. Issue: 1288 Publication date: June 2004. Page number: 26+. © 2008 EMAP Architecture. COPYRIGHT 2004 Gale Group.

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