No. 384: Joan Miró, Pop América

Episode No. 384 of The Modern Art Notes Podcast features curators Anne Umland and Esther Gabara.

The Museum of Modern Art, New York is presenting “Joan Miró: Birth of the World,” a survey of the first half of Miró’s career. While most of the exhibition comes from MoMA’s excellent Miró collection, it is augmented by several key loans, including the early The Table (Still Life with Rabbit) (1920-21). Umland curated the presentation with assistance from Laura Braverman. It is on view through June 15.

On the second segment, Duke University professor Esther Gabara discusses her exhibition “Pop América, 1965-75,” which is on view at the Nasher Museum of Art at Duke University through July 21. The exhibition examines how Latin American and Latinx artists engaged with pop art  alongside their American and European peers. The exhibition is accompanied by a terrific catalogue published by the Nasher and distributed by Duke University Press. Amazon offers it for $29.

Air date: March 14, 2019.


Joan Miro, Portrait of Enric Cristofol Ricart, 1917.

Joan Miro, The Table (Still Life with Rabbit), 1920-21.

Joan Miro, Still Life—Glove and Newspaper, 1921.

Joan Miro, Still Life I, 1922-23.

Joan Miro, Still Life II, 1922-23.

Joan Miro, The Family, 1924.

Joan Miro, The Birth of the World, 1925.

Joan Miro, Person Throwing a Stone at a Bird, 1926.

Joan Miro, Spanish Dancer, 1928.

Joan Miro, Bather, 1932.

Joan Miro, Portrait of a Man in a Late Nineteenth-Century Frame, 1950.

Roy Lichtenstein, Explosion from Portfolio 9, 1967.

Hugo Rivera-Scott, Pop América, 1968.

Antonio Berni, Mediodia (Noontime), 1976.

Cildo Meireles, Insertions into Ideological Circuits from Coca-Cola Project, 1970.

Antonio Caro, Colombia Coca-Cola, 1976/2010.

Lance Wyman and Julia Johnson-Marshall, Hostess dress and cape from the XIX Olympics, 1968.

Raul Martinez, Adam and Juliet, 1973.

Nelson Leirner, Stripincolors, 1968.

Nelson Leirner, Homage to Fontana II, 1967. [Not in exhibition.]

Rupert Garcia, Unfinished Man, 1968.

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