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...inside of squares, were shown at Manhattan's Museum of Modern Art in 1960, local papers reacted in horror. "Unspeakably boring!" snapped Herald Tribune Critic Emily Genauer. A less determined man might have gone into life insurance-but Stella painted on. His latest canvases, on view at the Castelli Gallery, are newly brilliant with a rainbow of Day-Glo colors, but they are as elemental in concept as ever (see color opposite). What has changed is that instead of being banned for boredom, Stella at the age of 31 is being heralded as one of the most influential artists...

Author: /time Magazine | Title: Painting: Minimal Cartwheels | 11/24/1967 | See Source »

...cardinals-the critics and museum directors. The museums have encouraged the production of icons, holy images, and other good luck charms that have no artistic value outside the church." The church also has its missionaries-the dealers. Among the leading ones right now is Manhattan's Leo Castelli. A few years ago, the story goes, Abstract Expressionist Willem de Kooning remarked, "That son of a bitch Castelli, he has the nerve to sell anything. He could even sell beer cans." Whereupon Jasper Johns proceeded to create his famous pop-art beer cans. Since the emergence of pop, with...

Author: /time Magazine | Title: Essay: WHAT IS ART TODAY? | 1/27/1967 | See Source »

Lichtenstein was touted early as a potential winner; indeed his dealer, Leo Castelli, went hoarse lobbying for him. But then so were Sweden's Oyvind Fahl-strom, who makes pop cutouts, Britain's Sculptor Anthony Caro, who studied with Henry Moore, and Germany's young expressionist Horst Antes, who mashes anatomy into a strudel of bright colors. Actually, in sculpture at least, the laurels were split between two rather conservative choices: Etienne Martin, 53, of France, who was rumored to have received a helping hand from Culture Minister Andre Malraux, and Robert Jacobsen, 54, of Denmark...

Author: /time Magazine | Title: Exhibitions: Year of the Mechanical Rabbit | 6/24/1966 | See Source »

...pioneers were at it right up to the end. In Frankfurt, a frontiersman named Timm Ulrichs put himself on view in a glass box, along with his school diploma, vaccination certificate and other personal documents. Manhattan's Leo Castelli Gallery put on a one-man show titled "Store Fronts," which is all they were: a row of fullscale, blank and well-lighted store fronts made of metal with Plexiglas windows backed by brown wrapping paper. The artist is a 30-year-old Bulgarian escapee from Soviet Realism named Christo, who has lived in New York since...

Author: /time Magazine | Title: Exhibitions: Please Don't Feed the Sculpture | 6/10/1966 | See Source »

...already established himself as a pop hero by exhibiting a stuffed goat, his own bed, and lumps of genuine Fulton Street dirt as art, and picked up the 1964 Venice Biennale's International First Prize for painting with his silk-screen images taken from newsphotos. Last week at Castelli's, Rauschenberg unveiled his latest kick-electronic sculpture. Titled Oracle, it is a series of five disconnected wagons of carefully put together junk, which Rauschenberg thinks of as "a collage out of sound." The connecting links are auditory; four pieces tweet and woof, continuously tuning up and down...

Author: /time Magazine | Title: Pop: Bing-Bang Landscapes | 5/28/1965 | See Source »

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