Word: artists
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Dates: during 1980-1989
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...couple tells is comic but grim: for the sake of freedom they have given up money, status, craft and identity. They are not only strangers in a strange land, they are becoming strangers to themselves. The U.S. can be a promised land for those who have nothing. For an artist, the promise may be a mirage...
Warhol's early works were the ones that mattered. He began as a commercial artist, became for a time (between about 1962 and 1968) a fine artist with something akin to genius and then lapsed back into a barely disguised form of commercial art. His sense of timing, his grip on how to give an image graphic clout, and his fixation on style as an end in itself all came out of his years of advertising and display work during the '50s for I. Miller, Lord & Taylor, Glamour and Vogue. By the end of this period he was rich, professionally...
...Monroe repeated 50 times, 200 Campbell's soup cans, a canvas filled edge to edge with effigies of Liz, Jackie, dollar bills or Elvis. Absurd though these pictures looked at first, Warhol's fixation on repetition and glut emerged as the most powerful statement ever made by an American artist on the subject of a consumer economy. The cranking out of designed objects of desire was so faithfully mirrored in Warhol's images and so approvingly mimicked in his sense of culture that no one, in fact, could be sure what he thought...
...buddy of the discos, Roy Cohn, was to law. Just as Cohn degraded the image of the legal profession while leaving no doubt about his own forensic brilliance, so Warhol released toxins of careerism, facetiousness and celebrity worship into the stream of American culture. He was the last artist whose cynicism could still perplex the art world, which may explain why -- even after he said that art was just another job -- people continued to scan his latest efforts for signs of "subversive" credentials. In fact, his work was no more subversive than a catering service, and as such...
...Earthly Delights (1984), based on Hieronymus Bosch's painting, and Vienna: Lusthaus (1986), which suggested the way 19th century romanticism evolved toward 20th century Holocaust. Clarke's allusive, dreamlike style can mesmerize audiences into believing they perceive subtle new connections among ideas and events. But in The Hunger Artist, which opened off-Broadway last week, Clarke has turned toward narrative and dialogue, and what meets the ear and brain is less than what meets the eye. The passages she has culled from Kafka, particularly The Metamorphosis, are familiar; the actors sometimes find eerie pathos but often waver between lobotomized declamation...