Word: dadas
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...France's Arman, 37. He accumulates things like a surplus-parts dealer and freezes them in polyester. His transparent collages in Manhattan's Museum of Modern Art's current assemblage show, contain heaps of real oil gauges, fan blades, or teapots. Very cool and a bit Dada, Arman's accumulations deliberately arouse no emotions in their viewers-unless possibly pique. But the Modern acquired one-a blend of matchboxes with pictures of cars and tiny toy vehicles...
...most indestructible enfant terrible. As far back as anyone can remember, Duchamp has exulted in controversy. In 1913 his Nude Descending a Staircase, described at the time as "an explosion in a shingle factory," was the belly blow of Manhattan's Armory Show. He dabbled in dada in interbellum Paris by drawing a delicate mustache and goatee on a Mona Lisa reproduction. As a surrealist masquerading under the pseudonym of Rrose Selavy (c'est la vie), he exhibited his portrait on a perfume bottle, submitted a urinal titled Fountain to a 1917 salon, where it was hidden behind...
...bombshell and London is rapturous. Wrote the Sunday Telegraph: "Peggy Guggenheim has achieved what many a museum has tried to do, and done it better." The collection is a chronicle of revolution. Beginning with a 1911 Picasso, through cubism, Dada, surrealism and on to the U.S. abstract expressionists, she has swooped up the dynamite that has given the words "modern art" their meaning (see color...
...commercial products. More reticent, Jasper Johns plays the position of a mandarin: his aim is to make art about art. In his beach house on Edisto Island, S.C., and his Riverside Drive penthouse in Manhattan, Johns surrounds himself with art works of his friends, from Marcel Duchamp's Dada gimcracks to Andy Warhol's soup boxes, which he uses in lieu of extra furniture. He is a chess player and keeps a library substantial in such stiff favorite reading as Ludwig Wittgenstein's Tractatus-Logicos Philosophi-cus. Johns also keeps on hand an inexhaustible supply of beer...
...Totem. Sir Herbert Read, the British art historian, contends that Paolozzi's "new images, functionless machine-tools or sterile computers, derive not, like his previous work, from the debris of industrialism, but from the rational order of technology." They go beyond dada, surrealism or assemblage in accepting and celebrating the machine, yet dominating it by giving it a soul...