Page 69 - World of Art magazine (2000)

adrian-silvan ionesCu romania

Ph.D., Art critic; Senior researcher at the Institute of The Documentary Art in 19th Century Romania, Editura
History ”N.Iorga”Bucharest Romania; Lecturer at the Fine Meridiane Bucharest Romania; this work was awarded the
Arts Academy in Bucharest Romania. ”George Oprescu” Prize of the Romanian Academy for the
edUcation 1975 Graduate of the Art History Department best book on art criticism published that year; 1997 The
of the Fine Arts Academy in Bucharest Romania; 1997 19th Century Balls, Fundatia culturala D’ale Bucurestilor,
Received his Ph.D. Bucharest Romania; 1998 The Sad History of the Prairie,
Worked for fifteen years as Curator and Senior Curator at Editura Globus Bucharest Romania; 1999 America Seen by
the National Museum of Art 1975-1977 Museum of History a Queen, Queen Marie’s Diary of Her 1926 Trip to the united
of the City of Bucharest Romania; 1977-1984 Museum States of America, The Romanian Cultural Foundation silvan
of History and Art o the City of Bucharest Romania; Publishing House Bucharest Romania; 1999 The Romanian
1984-1989 Becoming the Deputy Director of this institution Artistic Education, 1830-1892, Editura Meridiane Bucharest
1990-1993. After a brief time spent as Cultural Councilor at Romania; 1999 Bucharest in 19th Century by ulysse
the Bucharest City Hall 1994. Now he is Senior Researcher de Marsillac, book edited by Mr. A.S. Ionescu, Editura
at the ”Niclae Iorga” Institute of History in Bucharest Meridiane Bucharest Romania.
Romania. He is also teaching art history and history of cUrrentlY he contributes with exhibition reviews to
photography at the Fine Arts Academy in Bucharest various periodicals as well as to radio and TV releases.
pUbliShed the following books: 1990 Art and Document, Contributing Editor of World of Art int’l art magazine.
with buttons, shells and beads; yet another was wrapped in leather
stripes; and lastly one was covered with multicolored candies. In order to
» keep the gourmet out of touch, this special exhibit was surrounded by a cord, like the
most valuable masterpiece in a museum. Moulding plastic material in shapes resembling pieces of
dung, one night a witty Chicagoan put them under some of the cows. The following morning his fellow citizens
were astonished and amused seeing the overnight miracle. Consequently, the author of this joke was acclaimed
as an inspired contributor to the exhibition. Prior to being notorious for its prohibition era gangs, Chicago was
celebrated for its 19th century slaughterhouses.
Here was the end of the trail for many cattle herds brought from the South and the west by the mighty cowboys. The Cows on
Parade exhibition was a tribute to the gentle bovine, which made the city prosperous. It was a half serious-half humorous tribute. It was
a tribute bridging the gap between art and kitsch as only the Americans can do.

chicago
michigan aVenUe
coWS on parade
i Uncle Sam bY
Stan SczepanSki
ii YoUng at heart bY
laYne jackSon
iii modern familY coW
PHOTOGRAPH By
ADRIAN SILVAN IONESCu ©

SPECIAL ISSuE 2000 World of art 67