PEW...rebuttal on allegations of theft & wrongdoing! Art of the Steal (9.14 films)...

Pew accused of Art theft of century!

Protesters angry with Barnes Museum move!

PEW (a charitable trust) was accused of wrongdoing, the rich and powerful in Philadelphia high society allegedly schemed to carry off the art theft of the century, and friends of a respected collector (Alfred Barnes) rallied in court with cries for mercy (amidst a mountain of scandalous documents which pointed an accusing finger).

The whole tawdry tale was documented recently by 9.14 Films and well-received at a handful of prestigious Film Festivals around the country.

In my review of the "Art of the Steal" - I reported on all the juicy titillating details - which must have driven  my readers into a wild disbelieving frenzy!

Post:  01/20/2010

http://ijulian.blogspot.com/search?q=Art+of+the+Steal

Oh, there was malicious gossip about Moses Annenberg, eye-brow-raising rivalry between son - Walter Annenberg - and the insightful financially-independent art collector (and much to-do about his priceless collection which was at the heart of a great controversy), a lot of back-stabbing, sleuthing, and all-round treacherous behaviour on the part of all the power-players.

Curiously, the alleged perpetrators of the crime, refused to chat on-camera with the filmmakers for some inexplicable reason.

On these occasions, the producers (and "friends of Barnes") offered up publicity stills which - for the most part - were downright unflattering.

While Ray Perelman swirled in intrigue in the shadows, the director of the well-crafted documentary, flashed a photograph on screen which portrayed the man as evil personified.



A PEW representative (a woman) came across as - shrill, haughty, a snob - well, you get the picture!

After a painstaking day or two of drafts, edits, and polishing, I finally posted the Barnes drama on the Tattler web site without much thought.

Another one put to bed!

Curiously, when I was checking e-mail today, I spied a communication from PEW tucked away amidst all the rubble e-mails, sales pitches, spam, and so forth and so on.

In that communication, there was a brief note from a PEW spokesperson, who noted for the record that the Charitable Trust had responded to the allegations on their web site.

Right off-the-bat, PEW asserted that the reason they did not agree to interviews with the film crew for their documentary on the Barnes' issues, was because they anticipated  there would be bias.

Rather than be manipulated, or backed into a corner, I suspect they chose to go their own way.

In response, I contacted the PEW spokesperson and assured the individual that - to be fair - I would post their rebuttal at this site.

I cut their responses and inserted them herein below.

Please note that the questions raised to ferret out the information were posed by PEW and/or their associates (attorneys, whomever) and that my involvement amounted to that of  "messenger" only.

So, don't shoot me, eh?

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FAQS

The Pew Charitable Trusts' Role in the Barnes Foundation Move

Organization: The Pew Charitable Trusts

The Pew Charitable Trusts has provided support to the Barnes Foundation as part of our longstanding commitment to protecting and preserving cultural treasures held in the public trust.

Most recently, we have taken great pride in serving as an advocate and fundraiser for the Barnes as it plans to relocate its world-class art collection from suburban Lower Merion, Pennsylvania, to a new location on Philadelphia’s Benjamin Franklin Parkway.

Below are some of the most frequently asked questions about Pew’s role with the Barnes Foundation.

Q: Why is the Barnes Foundation moving?

A: The Barnes Foundation is moving its gallery from Lower Merion to Center City Philadelphia as the only feasible solution to severe and chronic financial problems. If these problems had remained unaddressed, the Foundation would have been unable to pay its bills. The physical security of the individual artworks and the integrity of the collection as a whole would have been at risk.

Q: What is Pew’s role with regard to the Barnes Foundation?

A: Pew’s role has been as an advocate and fundraiser. We, along with other donors, helped to raise $150 million (which includes our own funds) to build a new facility in Philadelphia, relocate the collection and establish an endowment to ensure the Foundation’s future security.

In addition, Pew provided interim operating support, enabling the Foundation to stay open in its Merion location.

We acted not only to sustain the Barnes in the short term, but also to help put it on sound financial footing for generations to come, and as an independent institution accessible to all audiences, as Dr. Barnes wished.

Q: How much has Pew contributed to the Barnes Foundation?

A: Pew has made grants totaling $24,350,000 to support the Barnes Foundation, which includes $20 million to support the costs related to the new facility.

Q: Was Pew motivated to meet a test required for public charity status?

A: Pew’s role with the Barnes was neither motivated by nor necessary for our application to become a public charity. Our work with the Barnes Foundation was one of four examples we included in our Form 1023 petition of Pew’s ability to attract public support.

The examples were chosen from a long list of qualifying projects. Pew qualified as a public charity irrespective of our work for the Barnes.

Q: Does Pew have any control or a governing role with the Barnes? 

Q: Did Pew set out to take over the Barnes?

A: No. The Barnes Foundation is led by an independent board of trustees. The Barnes came to us after determining that its very existence was threatened and that it could not accomplish its mission or survive in its Merion location.

We agreed, and provided much-needed support for its operations and long-term plan.

Pew is not involved in operating the Barnes Foundation and we are not represented on the Barnes board.

Q: Does Pew have any control or ownership of the Barnes  artwork?

A: Absolutely not. Pew does not have any ownership of or control over the Barnes Foundation or its collection of artwork.

Control over the assets and programs of the Barnes remains vested exclusively in its board.

Q: Aren’t Pew & others unfaithful to Barnes' intentions by moving the collection?

A: Rarely reported, the governing document establishing the Barnes Foundation states that if the Foundation were no longer financially stable and needed to move, it would have the option to do so.

The Montgomery County Orphan’s Court granted the Barnes Foundation request to relocate the art collection after years of litigation and weeks of hearings.

The judge carefully reviewed the alternatives and agreed that the move to downtown Philadelphia was the best solution to the severe problems facing the Barnes Foundation.

Q: Why didn’t Pew participate in Art of the Steal (documentary).

A: We learned that the film was going be severely biased. Given our institutional commitment to the facts and quality information, we decided it would be inappropriate to participate.

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http://www.julianayrs.com

The Art of the Steal...Barnes Collection scandal! Power & greed saga in Philadelphia...

Matisse painting at heart of power struggle!

The "Art of the Steal" is an absorbing tale about the intrigues surrounding a billion-dollar art collection, the astute art-lover who painstakingly pieced the celebrated canvasses together over the course of his idyllic life, and a gang of big-city culture thugs out to wrest the spoils of his labor from their resting place in a gem of a museum with the express intent of capitalizing on the masterpieces.

Of course, I am referring to the Barnes collection of post-impressionist paintings, which is second to none anywhere on the planet.

In spite of the fact the documentary (prouduced by 9.14 pictures) is fairly pedestrian in approach (with occasional creative flourishes here and there to break the monotony) it is the subject matter that is downright fascinating.

I should preface this post by noting that I started my professional career as a "painter".

During my teens and twenties (during a particularly creative period) I exhibited a series or two of  abstract-expressionist paintings and fine line drawings in a myriad of art institutions; hence, I have first-hand knowledge of the gallery and museum scene.

In a nutshell, the film is basically a morality tale about greed and power.

In the opening scenes, the producers of this slick documentary, introduce filmgoers to Albert C. Barnes, a brilliant academic with a keen eye for art.

Shortly after Dr. Barnes discovered a treatment for veneral disease a few decades ago (by virtue of a drug named Argypol) he proceeded to embark on his quest to start-up a significant art collection from the spoils of his profit-making medical venture.

As luck would have it, Barnes was fortunate to cross paths with a handful of up-and-coming impressionist painters on overseas jaunts to Europe - Picasso and Matisse - for instance.

At a time when the art world - major museums, in particular - were focusing elsewhere on acquisitions for their permanent installations, Barnes snapped up canvasses that appealed to his artistic sensibilities at a time when the market was wide open.

In fact, Barnes - a Johnny-on-the-spot of sorts - was able to snatch up key pieces (best examples of painter's styles) for literally a song.

Once the diverse pieces began to stack up, the visionary collector  proceeded to build a museum to house the one-of-a-kind masterpieces.

The Barnes Foundation was subsequently founded in 1922.

Unlike a museum or gallery that tended to mount canvasses according to style and period, Barnes elected to focus on their stature instead; subsequently, he arranged them according to aesthetic value.

Over time, the walls were adorned with priceless works, he literally hung himself.

As a result, scholars collectors and academics hailed the museum  setting as a remarkable personal cultural experience.

From the start, Barnes vowed to cause an uproar in the social circles he abhorred.

Of course, that  didn't curry much favor with the Philadelphia elite who were the target of his acid barbs.

For example, he accused Philadelphia insiders of running a house of artistic and intellectual prostitution.

So, early on, Barnes created arch foes who plotted against him, thereafter.

A handful of his most staunch critics responded, for instance, by denouncing his paintings as "nasty" "debased" works of art that were downright "primitive".

For this reason, the discerning collector - with amazing taste - taunted his rivals to just try to get their hands on his priceless collection (which an Investure Trust would protect from beyond the grave in the event of his untimely demise. Or, so he thought).

It must have stung his harshest opponents when Matisse opined:

"The Barnes Museum is the only sane place in America to view art."

The collection boasts Cezanne's renowned "Card Players", a handful of exquisite Serault models, Matisse's remarkable LA DANCE (possibly worth a billion plus dollars in value if not simply priceless), and numerous Picassos, Van Goghs, etc.

In his mind, Barnes envisioned (and thereafter created &  sustained) an institution where students could study, art-lovers teach, and collectors indulge their artistic sensibilities.

The fussy connoisseur expected to raise the bar in respect to - not only the value of art - but its purpose in daily life.

Unfortunately, over time, Barnes incurred the wrath of a handful of the local power elite.

For starters, he began to bump heads with Walter Annenberg and his family, which owned the all-powerful mainstay daily in Philadelphia.

When Moses Annenberg (allegedly a gangster) was brought up on charges of tax evasion, Barnes ridiculed son Walter about his father's shortcomings.

Walter Annenberg never forgave the democrats for pursing his father so relentlessly, either.

Barnes didn't help matters when he posted notices around the museum which labelled his enemies basic whores and exploiters of art out for vulgar personal, professional, and monetary gains.

He slurred the locals when he referred to Philadelphia as an intellectual slum (which didn't help matters much after that).

Early on, two or three days during the course of the week were slated for art classes, while the  remaining few were allotted for public visits by art-lovers, collectors, and scholars (by appointment.only)

After Barnes died suddenly in a fatal auto crash and the museum directorship was handed over to one of his dedicated disciples - Violette De Mazia (a good friend & confidante) - Annenberg and the Philadelphia Inquirer began to criticize the museum (going so far as to allege that the Barnes facility was not meeting its mandate pursuant to its tax exempt status).

Angered at what they viewed as a snobby attitude about art and the institution that housed it, critics conspired to break down the halls, and go for control of the celebrated collection.

Shortly after a newspaper article reported that the Barnes Museum was violating its tax status, the museum relented and began to schedule regular viewings for tourists, art lovers, and the like (who pined to get inside the doors and gaze upon the priceless works of art).

At this juncture, what was once a peaceful setting in the suburbs, erupted into a a storm of controversy when busloads of art-lovers and lookie-loo's roared into the neighborhood and upset the once-tranquil historic streets.

Enemies rubbed their hands with glee; after all, they were plotting to shut-down the museum.

Ah, just the ammunition they needed!

In addition to the neighborhood problems surfacing daily, opponents argued that unless authorities stepped in and took charge, the rare collection would be at risk of damage since the old museum was allegedly in a bad state of disrepair.

Their vision?

A permanent installation at the Philadelphia Art Gallery downtown.

Although some thought the "Barnes Investure" was iron clad, there was a loophole which the enemies of Barnes blasted wide open.

Violette de Mazia faithfully remained at the helm for about thirty years and carried out Barnes' wishes to a "t".

Indeed, the Museum flourished and gained respect in its capacity as a school and major art collection of undisputed value around the globe under her tutelage.

But, upon her death, the control of the Museum was unfortunately transferred to Lincoln University according to the last wishes of Barnes.

At this juncture, the roof literally tumbled down, when an ambitious lawyer was installed as head of the non-profit foundation.

At his bidding, Annenberg was invited into the fold, and the two began plotting.

Although the will specifically stated that the collection must never be lent out - or be exploited solely to reap financial benefit - the clever lawyer found a technicality to further his cause.

On the grounds that the Museum needed funding for renovations and operating costs, he convinced a court to permit the Barnes Collection to go on tour (which ended up being a landmark Art event of the century which rustled up staggerings profits right out of the starters gate).

Now, the big surge was on to shut down the Barnes Museum and install the collection permanently at the Philaelphia Art Gallery.

Now, things got diabolical, to say the least.

The potboiler shifts into high gear as the documentary focuses on the court proceedings, power-plays made by city officials and the Directors at PEW (one of three foundations now in charge of the Barnes Collection), and the long drawn-out public outcry from Barnes supporters and respected Art establishments around the country.

The documentary catches all the maneuverings - and treacherous transparent plot twists, too - in intense on-the-edge-of-your-seat detail.

Curiously - with exception to  the Mayor - the "bad guys" singled out as the perpetrators of the" largest theft of art in this century" - would not utter a word in their own defense on camera (or even on record for that matter).

Not surprising; after all, the allegations were shocking.

All the documented evidence was pretty incriminating, too

In court, PEW's legal eagles alleged that the sole reason for wanting to transfer the art pieces was due to the fact there were insufficient funds to continue to safely and professionally display the art at the Barnes Museum.

Also, they boldly asserted that the museum could not operate properly because of limitations imposed by the city in respect to viewing hours.

There was also a question raised about insufficient parking.

The Barnes supporters countered that arrangements had been made to extend the hours of daily operation, build a much-needed parking structure, and secure sufficient funds to operate more comfortably.

But, the smoking gun was staggering!

One of the witnesses testified that he uncovered a fund written into the state budget that would provide $100 million dollars for the Barnes to be funded and housed at the Philadelphia Art Museum.

Curiously, the Judge was not informed of this little detail when PEW (and others) originally filed their motion with the court to shut down the Barnes Museum for altruistic reasons.

If there was $100 million in the kitty, obviously there were enough funds available for the Barnes to carry on.

More intriguing perhaps was the disclosure that an investigation was unable to determine - who applied for the $100 million, who approved it, and how it ended up being written into the state budget - with no one's apparent knowledge.

Yes, I suppose God does work in mysterious ways, eh?

But, the plot thickened.

The Barnes ) supporters accused PEW (currently in charge of the Barnes Collection by court order) of making a grab for the Barnes Collection in a deceitful effort to change their private foundation status to a non-profit.

Although PEW denied the charge vehemently, IRS documents confirmed that the Barnes Collection was - in fact - cited as grounds for a change of tax status in their legal paperwork filed with IRS officials.

Although the Barnes supporters were hopeful that the Judge would swing his ruling their way - especially after PEW'S dastardly deeds were reported to the court (with supporting documentary evidence) - the end results were disheartening.

In sum, the Judge ruled that "the friends" of Barnes had no legal standing; consequently, his honor denied their motion (request) to overturn the earlier decision which allowed the collection to be moved lock, stock, and barrel to a new gallery space at the Philadelphia Art Museum.

"They're going to turn it into the McBarnes Collection," some lamented, after the ruling was handed down.

Yup, they intend to serve up the art experience, like fast-food.

To many, the whole cultural experience - until now a unique one at the Barnes Museum - will be lost.

Worse than that, the art  thieves have not only violated Barnes last wishes, but spirited away the collection to bolster their own selfish greedy ends.

In the final analysis, it appears that the high and mighty operate above the law without  fear of recrimination.

In sum, power corrupts!

Portrait of Barnes mulling over his priceless collection!

www.julianayrs.com

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Footnote

Please note that on the heels of this post being published @ the Tattler - a PEW representative contacted me by e-mail - and noted that the Charitable Trust has posted a rebuttal to the allegations at their web site.

To be fair, I penned an update on the issues, at the Tattler site.

Link:

http://ijulian.blogspot.com/2010/01/pewrebuttal-on-allegations-theft.html

Happy Mother's Day!

Nasher Sculpture Garden...a Dallas gem! Inspirational Arts District wows tourists...

I half-expected cowboy towns in Texas to be devoid of any cultural sights to track down.

Not true of Dallas!

A case in point, the Nasher Sculpture Center in the Arts District.

Amid reflecting pools and the soothing sounds of water trickling down from artfully crafted fountains, an impressive array of stragecially-placed sculptures dot the well-manicured gardens.

The collection is not only a knock-out, but an important sampling of work by a handful of the most celebrated sculptors of the the past century.

Open since October 20 (2003), the Nasher Sculpture Center is one of the few institutions in the world devoted to the exhibition, study, and preservation of modern sculpture.

Conceived as a serene urban retreat for the enjoyment of modern art, the Sculpture Center cost $70 million, is 54,000-square feet in size, and was designed by Renso Piano.

Raymond D. Nasher, founder, was one of Dallas’ most influential civic leaders and a patron of the arts.

His passion for modern and contemporary sculpture - and tireless commitment to establish Dallas/Fort Worth as one of the finest cultural desinations in the world - was well-known.

In the final analysis, the philanthropist left a priceless legacy for art lovers to savor for generations to come.

Nasher, according to most accounts, was a down-to-earth man who reached out to all.

One day, a project Manager at the AFI Headquarters lounge remembered the day he drove up to the Nasher residence (designed by celebrated architect M.I. Pei) to set up some equipment for an on-camera interview.

To his astonishment, he encountered a Henry Moore Sculpture at the front door of the Nasher home.

Shortly after the maid admitted him inside, Nasher entered the living-room unannounced, and proceeded to politely ask the blue-collar worker if he'd care for a soft drink.

"Nasher was unaffected by the trappings of his great wealth," he recalled fondly.

There are a couple of outstanding sculptures in the museum that caught my eye when I toured the stunning grounds over the weekend.

Joan Miro (Caress of a Bird) 1967

Here Miro has incorporated common objects into a whimsical totem which depicts a unique female sexuality.

Henry Moore (Vertebrae) 1968

In this remarkable piece, Moore has crafted an appealing arrangement of abstract organic forms from a pair of inter-locking flint rocks that he salvaged from the countryside near his home in England.






Pablo Picasso (Head of Woman) 1958

Picasso's first monumental piece of sculpture facilitated an innovative engraving technique known as Betograve widely-used today in creative circles.




George Segal (Rush Hour) 1983

An intriguing piece that captures a scene from everyday life.

Six commuters trudge along a city street mindlessly and slightly weary of the apparent rat race.

Jonathan Borofsky (Walking to the Sky) 2004


Seven life-size figures briskly walk up a pole as three others lag behind.

A whimsical piece of sculpture which was inspired by a childhood story his father triggered his imagination with.

This sculpture is often used by city dwellers and tourists alike as a visaul "signpost" to locate the Nasher in downtown Dallas.

http://www.julianayrs.com/

Westwood...sculpture imprisoned! Art-lovers kept at bay...

Pablo Picasso sculpture

In a small park in Westwood - just next to the Federal Building - an enticing piece of sculpture beckoned me from afar.

Being a great fan of art in-the-round outdoors, blended in with the natural environment, I strolled over to explore the artist's rendering up-close and personal.

As I drew closer, I was taken aback when I spied a chain-link fence haphazardly erected around the circumference of it.

Odd, that!

A plaque bore an inscription, so I inched closer to peruse it, in the event there was a clue or two as to why the work of art appeared to be out-of-bounds to the art-loving public.

The message was somewhat ironic!

It read:

"Touch and Experience"

Was this some wacko's idea of a sick joke?

Or, just maybe, this was one of Yoko Ono's mind-fu** conceptual art pieces?

In the alternative - just maybe - I was a surprise guest on candid camera and my reactions were being filmed for a side-splitting episode on the subject of modern art!

In that event, I expect I was supposed to play along, climb over the barrier, and touch away.

Get all orgasmic over the enlightening cultural "experience"?

I waited a beat or two, but no camera crew scrambled out from behind the trees or from within any of the roomy SUV's parked on the street nearby.

All in all, it ended up being a rather hollow experience.

Kind of like viewing a Takashi Murakami flat painting!

Henry Moore sculpture

http://www.julianayrs.com

Picasso...Paris Exhibition wows art enthusiasts and attracts sell-out crowds!

Record crowds are dashing to a must-see Exhibition in Paris!

"Picasso and the Masters" is a fascinating foray into the world of painting because the dynamic show hangs the Spanish Maestro's paintings up-close and alongside a number of classical painters who inspired the creative genius.

The exquisite display - which cost a staggering five million dollars to mount - houses over two hundred masterpieces which includes works by mentors such as Goya, Velazquez, Ingres, El Greco, Courbet, Manet, Rembrandt, Renoir, Degas, and Delacroix.

The bulk of the gems are grandstanding at the Grand Palais, but portions of the comprehensive collection are also featured in cozier settings in mini-shows in two other museums in Paris proper.

The organizers of the eclectic event - which is attracting frenzied art lovers from around the globe - describe the exhibit at the ultra-classy "Musee d'Orsay" as a riff on Picasso's many interpretations of Manet's "Dejeuner sur l'Herbe".

In another bombastic setting - ten paintings and a handful of black and white Picasso drawings normally housed at the "Salon Denon" at the Louvre - have been artfully placed astride Delacroix's remarkable masterpiece, "Femmes d'Alger".

With stunning results!

Because tickets have been in such great demand - without one, an art connoisseur may have to stand in a queue for three hours to gain attendance - the Museums have extended their hours to accommodate the droves of lookie-loos arriving en masse daily in the eternal City of Lights.

For those interested in all the detailed background scuttlebutt on the artwork, an audio guide is available, which I understand tends to be a bit talky and artsy-fartsy in an over-the-top intellectual way.

Personally, I'd just go for the visuals.

And, a reminder.

Hands off the paintings, no matter how textured they may be.

Years ago when I visited the Louvre for the first time, I started to reach out to stroke a piece of enticing organic sculpture, when an excited voice screeched at me from across the exhibit hall.

"Ne Touche Pas, Monsieur!"

I half-turned to catch the alarming sight of an armed guard headed in my direction at a rather fast clip.

I was so embarrassed by the incident, that I was half-inclined to climb under the carpet to avoid further scrutiny.

"Yes, those brazen Americans, they're everywhere," I could almost hear those snooty Frenchies whisper under their stinky breath, as I slunk away shame-faced.

By the way, did you know that the "Mona Lisa" is actually quite a small painting with magical forests in the background which are rarely ever fully appreciated in a simple print or rendering in a magazine or book?

Info: click on the "Noteworthy" link for the Louvre (above right)

Beverly Hills 213...slick glossy features & side-splitting "Brain Optional"

Each week, a newspaper carrier zips around ritzy Beverly Hills and tosses the latest cellophane-wrapped edition of Beverly Hills (213) on the front doorsteps of the tony elite in the ritzy enclave.

The splashy weekly is probably one of the last hold-outs - in extravagant wide-broadsheet format, anyway - with class written all over it.

Thin yes, but packed with eye-catching publicity shots of the latest designer fashions and accessories to grace the expensive racks on Rodeo Drive, and elsewhere.

A couple of known columnists grace the pages inside - James Bacon (who often wistfully reflects on the golden days of Hollywood and - likewise - a handful of old drinking cronies) and Rex Reed (who's inclined to chat over the latest little celluloid offering that has either revved up a delightful fanciful experience or prompted a hateful diatribe about the misguided musings of a hack writer).

To add a touch of clubiness to the publication. the editors usually reserve a page or two for the express purpose of featuring flattering stills of the town's upper echelon out-on-the-town at glitzy red-carpet premieres and charity functions - sure to spread good will - and keep hefty donations flowing into the coffers.

Recently, I was thumbing through the publication over lunch at Whole Foods when I stumbled across a funny entertaining feature.

"Brain Optional" managed to breathe some fresh air into a staid old-guard attitude that normally prevails between the covers.

The feature is a weekly collection of hilarious quotes lifted from the tongues of the famous - and not-so-famous - that tend to tickle the funny bone.


In the studio days, Sam Goldwyn was known for putting his foot in his mouth with side-splitting results. His off-the-wall remarks were either a simple misuse of language - or quite frankly - a calculated effort on his part to drum up publicity for his thriving business.

Some allege that Pete Smith - his publicity agent - collected a handful of the witticisms and distributed them to the newspaper and radio columnists to fan the flames and set Goldwyn apart from the competition.

His odd-ball comments became were known as "Goldwynisms".

Here's an example:

One evening, a friend of Mr. Goldwyn's was casually sipping on a cocktail, when he noticed a new abstract painting hanging on a prominent place on the wall.

"Where did you get the beautiful Picasso?"

Goldwyn peered at it for a moment, then responded:

"I don't remember. I think it was in Paris. Somewhere over there on the Left Wing."

On another occasion, when he wasn't feeling too well, he sighed to a friend,

"I've been laid up with intentional flu."

"He treats me like the dirt under my feet" is a favorite of mine; probably because I imagine it was a quip he made about an actor.

Another zinger - "I would be sticking my head in a moose" - was obviously inspired by that old circus trick where the "Master of Ceremonies" wows the audience by placing his head inside the open jaws of a powerful lion.

Two famous ones attributed to Goldwyn are:

"An oral contract isn't worth the paper it's written on."

And, "Gentlemen, include me out."

And a show biz favorite I often use in film reviews:

"They stayed away in droves."

"Brain Optional" featured a handful of outrageously funny "Goldwynisms" in a recent issue which are attributed to various individuals in the public arena.

"It's no exaggeration to say that the undecideds could go one way or the other."
George Bush

"Things are more like they are now than they ever were before."
Dwight D. Eisenhower

"Ninety percent of the game is half mental."
Yogi Berra

"The Streets are safe in Philadelphia. It's the people that make them unsafe."
Frank Rizzo

"Sure, its going to kill people. But, they may be dying of something else anyway."
Othal Brand
Texas Pesticide Review Board

"I haven't committed a crime. I failed to comply with the law."
David Dinkins
New York City Mayor
(Tax evasion issue)

"We have only one person to blame and that's each other."
Barry Beck
New York Ranger
(fight with player)

The above quote may starting popping up in conversations around California in the near future when gays start filing for divorces, I expect.

As the say at MGM, that's it folks!

Salvador Dali...LACMA exhibition, surrealism!

The legendary figure cut a wide swath, sported a ubiquitous handlebar moustache, possessed mischievous twinkling eyes and had an innate flair for publicity.

Known for his dripping clocks, surreal depictions of Christ, and a myriad of eye-catching avant-garde prints which have circulated the globe in major collections - of course - the man is Salvador Dali!

The eccentric artist with the showy public persona was one of the greatest surrealist painters of our time and best known for his ability to translate "dreams" into artwork.

According to Dali, the distinctive creations were for all intents and purposes "hand painted dream photographs".

Dali was born the son of a successful notary in Figuera (Spain) and enrolled in his first drawing classes when he was ten years old.

Undoubtedly, the influence of his first art teacher – well-known Spanish impressionist painter, Ramon Pichot – impacted the early stages of his development.

Later, Dali studied art formally at the Royal Academy of Art in Madrid. When he failed to graduate for declining to take his final examinations a controversy arose.

The mercurial businessman poohed-poohed the scandal by arguing to everyone within earshot that he was more "qualified than those examining him".

When he uprooted himself and moved to Paris, he quickly fell in with noted artists Pablo Picasso and Joan Miro and immediately established himself as a principal figure in a "surrealist" group of painters headed up by Andre Breton (often referred to as the "schoolmaster" of surrealism).

Salvador Dali unveiled his first one-man show in New York in 1933.

A few years later on the heels of success, Dali elected to seek permanent residence in the United States in 1940 to avoid the war.

Spectacular exhibitions – a retrospective at the Museum of Modern Art in New York – for instance, put him on the "artistic" map.

Dali was drawn to the cultural elite like a moth to flame.

In time, Dali was such an iconic figure in art circles that celebrities like Jack Warner and Helena Rubinstein shelled out large sums for the commission of portraits.

Famed followed!

Unknown to many, Dali was also a capable sculptor, filmmaker, and writer.

At the end of this week a much-anticipated exhibition is being unveiled at the Los Angeles County Museum of art sure to be a crowd-pleaser.

While Dali's main focus was on painting he also maintained a deep connection with film as an artistic medium.

On occasion, the visionary artist collaborated with the likes of such film greats as Luis Buñuel and Alfred Hitchcock.

In the words of the LACMA curators - "Dali: Painting & Film" - aims to illustrate the cinematic influences and elements that are present in Dalí's work as well as the contribution he made to cinema.

The dynamic exhibition brings together a variety of key pieces from Dalí's oeuvre and incorporates painting, film, photography, sculpture, and texts.

The stellar collection was organized by the Tate Modern (London) in collaboration with the Fundació Gala-Salvador Dalí, Figueres (Spain) and the Los Angeles County Museum.

The exhibition was curated by Dawn Ades, Montse Aguer, Fèlix Fanés, Matthew Gale, and Helen Sainsbury.

LACMA Curators were Ilene Fort (American Art) and Sara Cochran (Modern Art).

The Los Angeles presentation was made possible in part by LACMA’s Wallis Annenberg Director’s Endowment Fund and was also vigorously supported by an indemnity from the Federal Council on the Arts and the Humanities.

Salvador Dali quote,

"The first man to compare the cheeks of a young woman to a rose was obviously a poet; the first to repeat it was possibly an idiot."

LACMA will obviously explore Dali's work in full bloom...