Word: art
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Dates: during 1960-1969
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...Michelangelo "too crude and experimental." Tunberg's Neoclassical Drawing Trap was put together as a way of asking, "Do you really know what you are talking about when you praise old masters?" Says Tunberg, who is working on a construction showing a pair of hands making a pie: "Art is not just a scene or a picture any more. It is an object that exists for itself, but it also conveys something more than pure decoration-not exactly a message, but a hunch...
...Anxiety. Something very much like a hunch also drives Elaine Sturtevant, a fair, fey and fortyish Manhattan divorcee who went to Paris last year with her two small daughters and may not find it safe to come back. For she practices a kind of art that has made her one of the less popular artists in Manhattan. Sturtevant's thing is line-for-line copies of virtually every top pop painter and sculptor. She has "done" Segal, Wesselmann, Oldenburg, Stella, Johns, Lichtenstein, Rosenquist and Warhol with such loving cunning and accomplished accuracy that she makes them all look slightly...
What will come after? Nobody knows. What the prevalence of "art for art's sake" creations mainly shows is that artists feel compelled to satirize the status quo. In this sense, the stage seems curiously akin to 1953. That was the year when Robert Rauschenberg set the stage for pop with his own contribution to the "art for art's sake" genre: erasing an Abstract Expressionist drawing by Willem de Kooning...
...year ago, Hartford's venerable Wadsworth Atheneum-which claims to be the U.S.'s oldest public museum-closed its doors to the public. It had to. Since its opening in 1844 with 53 art objects, its collection had grown to some 50,000 pieces, and in the five years before it began closing down, attendance had more than doubled to an annual total of 255,000. Expansion was desperately needed; some of the 60 staff members had been working out of converted coatrooms...
...Exhibitionist. Director Elliott, 44, who took over when Charles Cunningham moved on to the Art Institute of Chicago three years ago, is proud of the basic collection for which the museum is famed-a small but distinguished selection of baroque paintings, classical bronzes, Meissen porcelain, 17th and 18th century furniture, antique firearms. But even before the shutdown, he set energetically to work to bring the Atheneum more up to date in art history. Conspicuously displayed in the new galleries and elsewhere were some of his acquisitions: Tony Smith's Amaryllis, Cezanne's Portrait of a Child, an important...