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...fortunately, we've seldom had to go that long. Ten years after the Revolution, there was Shay's Rebellion, in which poor farmers challenged the new Republic's monied elite. In the 1820s and '30s, there was the Workingmen's Movement, pitted against the evils of "kingcraft, priestcraft and lawyercraft." That fed into the abolition movement, which in turn helped launch the women's suffrage movement in 1848. Near the turn of the century, there was the middle-class Progressive Movement for civic reform and a near insurrection by the new industrial working class. In our own time...
...next step is to patch in some disconnected quotes from Modern Life, like a comic-strip balloon, a '30s car, a nude or an outline drawing of a chair. These can be repeated from picture to picture, thus giving the impression that such images are obsessive, a la Jasper Johns. This will lend an expectation of profundity to the series. Why profound? Because Salle, as everyone now knows, has discovered important metaphors of the meaningless overload of images in contemporary life. Thus his pictures enable critics to kvetch soulfully about the dissociation of signs and meanings, and to praise what...
...tabloid Kennedy chases women half his age. In fact, in the past few years he has had several lengthy relationships with women who range in age from the mid-30s to 42 to a bit over 50. All are women of brains and professional stature, not bimbos...
...despicable -- not a bad thumbnail note for Ernst's own art, especially as seen by others. We have reason to thank the large soft pencil of the man with the mustache. Ernst was not a great formal artist, not by a very long chalk. But in the 1920s and '30s especially, he was a brilliant maker of images. Their strength and edginess radiate like new in the centenary Ernst exhibit, organized by art historian Werner Spies, which is at London's Tate Gallery this month and moves in mid-May to Stuttgart's Staatsgalerie. Long after the art movements...
...until the end of his life. After he escaped from Europe to America in 1941 -- his ticket was paid by Peggy Guggenheim, who was sexually obsessed by Ernst -- he lived for some years in Arizona, whose vast skies and mesas repeated the visions inscribed in certain Ernsts of the '30s like The Petrified City. There he made paintings by swinging a can with a hole in it over a canvas; these rhythmical dribbles were seen by Jackson Pollock...