IMAGE: Joan Miró, Femmes VI (Women VI), 1969. Oil on canvas, 28 ¾ x 36 ¼ inches (73 x 92 cm). Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain. © 2014 Successió Miró / Artists Rights Society (ARS), New York, New York / ADAGP, Paris, France


The Nasher Museum presents Miró: The Experience of Seeing, an exhilarating exhibition of works by Spanish-born artist Joan Miró. This is the first-ever presentation of the final 20 years of Miró’s career. Don’t miss the only East Coast venue for this special ticketed exhibition. All works are on loan from the Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain.

In 1956, Joan Miró moved to a new studio on the island of Mallorca, Spain. Here the artist could, for the first time, gather together and reflect on decades of his work. For the remainder of his life, Miró underwent a period of tremendous productivity in painting, printmaking and sculpture. The exhibition reveals a tireless creativity and an intimate connection to nature and the human figure. Come and discover this joyous and inspirational late work by one of the great masters of 20th century art.

VIDEO CLIPS ABOVE: Pere Portabella, Miró l’altre (Miró the Other) (detail), 1969. Video (color, sound), 15:00 minute loop, Production: Films 59. In the 1960s, the dictatorial Franco regime attempted to improve its reputation in Spain by associating itself with major Catalan artists and staging exhibitions of their work. In 1968, one such exhibition was organized with the work of Miró, who neither supported nor cooperated with the project. One year later, Miró’s 1969 exhibition at the College of Architects in Barcelona was staged as a response to the regime’s attempt to exploit his name, and stood as a protest against Franco’s government in general. Filmed by Catalan filmmaker Pere Portabella, Miró l’altre (Miró the Other) shows Miró painting a mural on the exterior windows of the college and later, after the exhibition had closed, washing the artwork away with the help of the building’s janitorial staff. Highlighting the ephemeral and process-based nature of Miró’s work, the filmmaker emphasizes “the radical subversion” of this destructive act as an expression of opposition to both the Franco regime and the traditionally-defined static nature of painting.

Two and two do not make four. Only accountants think that. But that is not enough: a painting must make this clear; it must fertilize the imagination.

-Joan Miró, 1959

Miró: The Experience of Seeing is organized by the Seattle Art Museum and the Museo Nacional Centro de Arte Reina Sofía.

At the Nasher Museum, Miró: The Experience of Seeing is made possible by the William R. Kenan, Jr. Charitable Trust,Marilyn M. Arthur, the Estate of Dorothy Lander, Frances P. Rollins, Mary Duke Biddle Foundation, Victor and Lenore Behar, Trent Carmichael, Katie Thorpe Kerr and Terrance I. R. Kerr, and the North Carolina Arts Council, a division of the Department of Cultural Resources. Major support is provided by Deborah DeMott, Nancy A. Nasher and David Haemisegger, Chrissy and Joel Huber, Kelly Braddy Van Winkle and Lance Van Winkle, Kathi and Steve Eason, Erickson Advisors, Graduate Liberal Studies at Duke University, the Cynthia and George Mitchell Foundation, Parker and Otis, Lisa Lowenthal Pruzan and Jonathan Pruzan, Mindy and Guy Solie, and Richard Tigner. Additional generous support is provided by Carolyn Aaronson, Arjuna Capital, Jo and Peter Baer, Carol O’Brien Associates, Inc., Ruth and Sidney Cox, Ann and Rhodes Craver, Department of Romance Studies at Duke University, Pepper and Donald Fluke, Carol and William Griffith, Eunice and Herman Grossman, Susan Rosenthal and Michael Hershfield, Thomas S. Kenan Foundation, Doren Pinnell, Jonathan J. Prinz, Caroline and Arthur Rogers, Timothy D. Warmath, and the Zinn Family.

This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

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