Word: artes
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Dates: during 1980-1989
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Benton left New York for good in 1935, returning to Missouri. By then the regionalist movement had formed around his "heroic" pastoral vision, and he felt obliged to repudiate the city, whose art world was, he announced, a veritable Sodom of fanatics like Stieglitz and "precious fairies" who "wear women's underwear." Yet an odd thing about regionalism, as Adams shows in amusing detail, is that it was the only art movement ever launched by a mass- circulation magazine. Regionalism's promoter was a small-time Kansas-born art dealer named Maynard Walker, who sensed that the resentments of America...
...further irony was that regionalism, supposed to be the expression of American democracy, was in its pictorial essence the kissing cousin of official Soviet art in the '30s. If socialist realism meant sanitized images , of collective rural production, new tractors, bonny children and muscular workers, so did the capitalist realism proposed by Benton and Wood. Both were arts of idealization and propaganda. In aesthetic terms, little that Benton painted for the next 40 years would have seemed altogether out of place on the ceilings of the Moscow subway. Apart from this, the whole matter of Benton's racism is still...
...ART: A new look at a vigorous, vulgar American original...
...ART DIRECTOR: Rudolph C. Hoglund...
...ART: Arthur Hochstein (Deputy Art Director); Linda Louise Freeman (Covers); Steve Conley, Jennifer Napoli, Billy Powers, Irene Ramp, Ina Saltz, John F. White, Barbara Wilhelm (Assistant Directors); Angel Ackemyer, Stefano Arata, James Elsis, Carol March, Kenneth B. Smith (Designers); Nickolas Kalamaras Layout: John P. Dowd (Traffic); Joseph Aslaender, David Drapkin, Victoria Nightingale, Lisa Sampson, Nomi Silverman, Eugene Tick, Dennis Wheeler Maps and Charts: Paul J. Pugliese (Chief); Cynthia Davis, Joe Lertola, E. Noel McCoy, Nino Telak, Deborah L. Wells...