Word: artes
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Dates: during 1960-1969
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...enough as history. What has happened since 1965, the cutoff date Geldzahler chose for established talents, would be another show entirely, a free-for-all with kinetic and light sculptures, environments, photo-realists and cold figuratists, the shadowy, sensitive light works of Los Angeles artists, the foolish funny funk art of San Franciscans, and the esoteric conceptual fantasies of the young reactionaries...
Serious Deficiency. For all its limitations, the show makes an eloquent statement about American art in recent years. Geldzahler's decision to devote whole rooms to single artists of his choice rather than include everybody results in a perspective that he himself probably did not anticipate. In the Met's vast spaces, Adolph Gottlieb, Robert Motherwell and even Barnett Newman wither. But the works of Ad Reinhardt, Hans Hofmann and Helen Frankenthaler take on new authority. The show's most serious deficiency is in sculpture, and Geldzahler admits that, with the exception of David Smith...
...young who have already bolted the establishment, the Metropolitan's show may represent another irrelevant exercise in self-aggrandizement for what goes in the marketplace. Peter Selz, director of Berkeley's University Art Museum, observes: "Today's young artists reject pure color paintings as establishment art. They are more interested in changing our total environment." Nonetheless, aside from the majestic scale, the frequent emptiness and the su-persimple icons of the past three decades, there is a lesson to be learned from the Met's show. It is that American artists have persistently practiced a kind...
...looks like something out of an early Happening. Or an Andy Warhol movie. Or one of those puckish pop art pieces of George Segal or Marisol. As a matter of fact, Henry Geldzahler can claim all that and more. He first came into public view-a quasi-somnambulant rotundity in prison stripes afloat in a rubber raft-in an Oldenburg Happening mounted in the swimming pool of a Manhattan health club. Next came instant stardom before a Warhol camera. His role: smoking a cigar for an interminable hour and a half. "I have a certain unusual look," says Henry...
...first curator of contemporary arts, he is certainly the museum's most controversial acquisition in the last decade. No one in Manhattan's ingrown art world elicits such studied veneration or unquotable outrage. One reason is that Henry has taken on the almost incompatible tasks of scout and judge. As scout, he strives to keep abreast, mingling familiarly with the most avant of the avantgardists. Huffing and puffing up countless stairs to artists' studios by day, wining and dining with their patrons by night, he is equally at home in the scruffy lofts of Canal Street...