Word: 1960s
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Dates: during 1960-1969
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...gaudy oils and watercolors was inspired by García Lorca's lament for a bullfighter). In the 1950s, he painted in Paris, took a turn in Manhattan as a professional songwriter but periodically returned to canvases of Negro life. He began to use collage only in the 1960s...
...Picasso turned to bronze castings of sculptures made with "found objects." Many of them, such as the Baboon and Young, with toy auto for a head and metal spring for a tail, are so well known that they set all sorts of precedents for the neo-Dadaists of the 1960s. But in this category, too, there are delightful examples of Picasso's wit never seen before, including a little girl caught skipping rope in mid-jump, and a pipe-tube, stiffly starched nurse pushing a baby in a pram...
Effervescent & Erotic. To Picasso fanciers, the most entertaining parts of the exhibit are among the largest and smallest items on display. Both are the handiwork of the 1960s, and both show that even at the age of 85, Picasso remains astonishingly inventive. The largest works, of course, are Picasso's monuments, represented by the model for the recently installed Chicago Civic Center sculpture and a photomontage of a heroic female figure to be installed in The Netherlands. The smallest are the impish, effervescent, often forthrightly erotic metal cutouts. Brightly painted and deftly bent, they look like cubist paintings...
...staggering 2,500,000 copies-each a guaranteed package of psychic shivers. Loosely strung together on a scheme that plays the younger and older generations off against each other, it sizzles with musical montage, tricky electronics and sleight-of-hand lyrics that range between 1920s ricky-tick and 1960s raga. A Day in the Life, for example, is by all odds the most disturbingly beautiful song the group has ever produced. The narrator's mechanical progress through the day ("Dragged a comb across my head, found my way downstairs") is tensely counterpointed with lapses into reverie and with chilling...
...charts in the 1950s on the chugging riffs of Bill Haley and His Comets (Rock Around the Clock) and the rhythmic caterwauling of Elvis Presley. But even they were bleached-out copies of the vibrant, earthy rhythm-and-blues sung in the subculture of Negro music. Until the early 1960s, rock 'n' roll went through a doldrum of derivative mewing by white singers, with only occasional breakthroughs by such Negroes as Ray Charles and Fats Domino...