Word: abstractions
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Dates: during 1970-1979
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...amazing thing about On Moral Fiction is that, despite the naivete of its fundamental tenet, it is filled with acute, valuable observations on contemporary art. Gardner's ideas make a lot more sense when he applies them to contemporary culture than when he states them in the abstract...
...painting, two great landscapists, Claude Monet and Paul Cézanne, are twin bridges between the 19th century and our own. As Cézanne's work provoked cubism, so Monet's looked forward to abstract expressionism. Today the role of landscape in art has shrunk. But the most ecstatic perceptions of experience and the most radical discoveries about the language of color and shape that these sublime artificers made were developed from their landscape motifs. Cézanne's was the Provençal countryside around Aix. Monet's was a garden at Giverny, about...
More than most players, though, Glenn Fine defies the kind of abstract description that statistics give. His act is visual; as with ballet, you must see Fine's game to understand just how talented he is. Fine crosses over dribbling as well as anyone who has ever played in the IAB, and he has the uncanny knack of seeming to float down the court, before--POP--threading a pass through the defense, or launching a gutty drive down the line...
...completely a child of abstract art. "Whatever interest I have in people," he once memorably told a reporter, "I have with them in daily contact. I don't want them walking around in my painting." Because of the extreme, not to say polemical, purity of his obsessions, Stella's work seemed exemplary. No young artist's oeuvre had ever been so exhaustively discussed, or used to support such a variety of critical positions. As a result, when enthusiasm for " '60s-style" abstraction started waning at the end of the '60s, Stella's prestige began...
...Stella's control over his means is such that never once does one doubt the emphatic seriousness behind the display. He has at last discovered his own sensuality as a painter, and set it forth in what is, quite simply, the bravest performance abstract art has offered in years: manic energy channeled by an infrangible toughness of mind. Almost a decade ago, Leider's essay notes, Stella described his ambition- "to combine the abandon and indulgence of Matisse's Dance with the overall strength and sheer formal inspiration of . . . his Moroccans. " Perhaps that goal, like the target...