Word: formalist
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...there on the museum wall. And the curious paradox was that, in Lichtenstein's case, the fluid -those cartoon images of teen-agers and Korean War jets-was transparent. After a while the imagery hardly got in the way at all, and Lichtenstein could be treated as a formalist much more readily than, say, Claes Oldenburg, with his gross impurities and gargantuan appetite for metaphor. A lot of Pop art owed something to surrealism. Lichtenstein's never...
...decade for movements. Movements belonged to the '60s: op, pop, color-field, minimalism and so on. By 1975 all the isms were wasms. The '70s were pluralistic; every kind of art suddenly found room to coexist. The idea of a "mainstream," beloved of formalist criticism in the '60s, vanished into the sand: "At last the Dodo said, 'Everybody has won, and all must have prizes.' " And although the decade produced its meed of good art, some very interesting indeed, the most striking thing to happen was agreement on a level below the art itself: that...
Nevelson's attempt at a fusion of painting and sculpture ended by confusing her reputation during the 1960s. The art Establishment was dominated by a formalist view that took it as gospel that art should be "self-defining"-so that painting must eliminate every attribute not unique to painting, and sculpture likewise to sculpture. To this Establishment Nevelson seemed impure to the point of sloppiness and her love of metaphor and allusion quite improper. Nor did it help that she was a woman. Thus, in one of the most celebrated curatorial blunders in recent memory, she was left...
...Cultural and Scientific Conference for World Peace in New York. But I refused, it was humiliating for me to take part in a spectacle Like that. I was a formalist, a representative of an antinational direction in music. My music was banned, and now I was supposed to go and say that everything was fine. Finally I agreed. People sometimes say that it must have been an interesting trip, look at the way I'm smiling in the photographs. That was the smile of a condemned man. I felt Like a dead man. I answered all the idiotic questions...
...between one figure and another, how much emptiness should come between a silhouette in a bar and the profile of a metal letter, and how to maintain a kind of iconic austerity in an impure medium that could easily become cluttered with props and set dressing. Segal is no formalist, but his sense of the abstract underpinning of sculpture cuts down on what might otherwise have become a tough-but-tender street sentimentality. He is, as the catalogue suggests, a "proletarian mythmaker," though not in a political sense; and no other sculptor working in America today has done more...