Barbara Rose

Mira-keiju tekee taikojaan koulussa. Keijupoika Pekkoa vaivaa lentopelko. Vuokko ja Luna aikovat mennä yhdessä keijutanssiaisiin, mutta heille tulee sanaharkkaa. Onnistuvatko ystävykset sopimaan ajoissa? Kolme viehättävästi kuvitettua keijutarinaa.

Painting after Postmodernism: Belgium - USA investigates why so many believed Marcel Duchamp when he made his infamous statement of 1918: that painting was dead. After all, as this book goes on to show, Duchamp was wrong. In the decades before and after World War II, Picasso, Matisse, Miro and the New York School continued to make monumental mural scale paintings on the level of the greatest art of the past. However, in the politically radical 1960s and 1970s it once again became fashionable to toll the death knell for painting, now perceived as the product of bourgeois culture. In its place galleries and museums defined the avant-garde as conceptual art, video, mixed media and installations, all of which denied painting its position of pre-eminence. Painting was reduced to just another form of Postmodernist endeavour. Barbara Rose investigates how contemporary artists rediscovered the art of painting, juxtaposing works from Belgian and American artists to create a cross-cultural dialogue.

Born in Bryan, Texas, and raised in Houston, Dorothy Hood won a scholarship to the Rhode Island School of Design in the early 1930s, then worked as a model in New York to earn money for classes at the Art Students League. On a whim, she drove a roadster to Mexico City with friends in 1941 and ended up staying for more than twenty years. Hood was front and center at the cultural, political, and social crossroads of Mexico and Latin America during a period of intense creative ferment. She developed close friendships with the exiled European intelligentsia and Latin American surrealists: artists, composers, poets, playwrights, and revolutionary writers. She married the Bolivian composer Jos. Mar.a Velasco Maidana, and together they traveled all over the world. Once back in Houston, Hood produced epic paintings that evoked the psychic void of space: large-scale works evoking primordial seas, volcanic explosions, and the cosmos contained within the mind. The Color of Being / El Color del Ser establishes a vital connection among Texas, Latin America, New York, and Europe. It celebrates this important Modernist painter whose oeuvre is integral to the ongoing dialogue of abstraction by artists of the postwar period.

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