{"id":107036,"date":"2017-01-24T18:22:24","date_gmt":"2017-01-24T23:22:24","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=107036"},"modified":"2017-01-24T18:29:09","modified_gmt":"2017-01-24T23:29:09","slug":"the-fiestas-are-over","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/01\/24\/the-fiestas-are-over\/","title":{"rendered":"The Fiestas Are Over"},"content":{"rendered":"

An exhibition of Beatrice Mandelman\u2019s sixties-era work<\/a> is showing through April 1 at Rosenberg & Co., in New York. Mandelman, who died in 1998, was among the\u00a0modernists of Taos, New Mexico, who moved to the city in the forties to found the Taos Valley Art School. Mandelman favored what she called the \u201ccalm\u201d of geometry as a\u00a0reaction to\u00a0the tumult of the sixties.\u00a0\u201cThe work IS hard edged because the world is hard edged now,\u201d she said. \u201cIt\u2019s not a soft feminine period. The fiestas are over. The celebrants have gone home. It is time to face reality.\u201d<\/em><\/p>\n

 <\/p>\n

<\/a>

Beatrice Mandelman, Collage No. 9<\/i>, 1960s, mixed-media collage on mat board, 15.63″ x 19.63″.<\/p><\/div>\n

<\/a>

Untitled<\/i>, c. 1960s, acrylic and collage on paper, 24.88″ x 38″.<\/p><\/div>\n

 <\/p>\n

<\/a>

The Man<\/i>, c. 1965, collage with acrylic on canvas, 19.74″ x 13.75″.<\/p><\/div>\n

<\/a>

Untitled<\/i>, c. 1960s, acrylic and collage on paper, 25.5″ x 19.63″.<\/p><\/div>\n

<\/a>

Sea Shapes (#2)<\/i>, 1960s, oil on fiberboard, 60″ x 48″.<\/p><\/div>\n

<\/a>

Untitled (Freaks)<\/i>, c. 1960s, mixed-media collage on paper, 19.44″ x 12.19″.<\/p><\/div>\n

<\/a>

Beatrice Mandelman at a swimming pool in Llano, date unknown.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

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