Word: goya
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...previous work, Warner's methods in Bogeyman are culturally omnivorous, ranging over Goya, the Alien movies, the origins of the word boo and the many meanings of bananas. Best dipped into rather than read in one go, the book very much matches contemporary experience. "We live in a floating, borderless mass of impressions and images which come at us," Warner explains...
...those with more acquired tastes, there are acres of aisles constituting a "World Market--Great Value in Any Language." Goya hanichuelas pintas abound amidst 25-pound bags of Gao Nang Thom imported Thailand jasmine white scented rice. Odd British "Wispa" and "Krunchie" chocolate treats are interspersed with ginger beer syrup and pepper sauce piquante. Star Market has even started its own line of accessories named Ser., complete with fleece neckwarmers and pillows shaped like the continental 48 states that scream, "hug America...
...Goya he wasn't, nor a Velazquez, nor a Titian. An American Picasso, maybe? No: the oeuvre lacks that vast span. For someone who had the impact on international art that he did, Pollock had a bafflingly short career. He didn't attain any degree of originality until after his 30th birthday. The arc of the career rises from 1943, when the collector and gallery owner Peggy Guggenheim commissioned him to paint a mural for her Manhattan apartment, to the early '50s--no more than 10 years. The final four years of his life brought a string of pictorial failures...
...with a palpable clang. It had to come. It has come. Art abhors a vacuum, and if Las Vegas hasn't earned a name for being culturally underoxygenated, what place in America has? If the Metropolitan Museum of Art in New York City can hang banners advertising Tiepolo or Goya from its Fifth Avenue facade without having fingers wagged in its face, why shouldn't Steve Wynn, the modern-day Mike Todd or P.T. Barnum of Vegas, the man with more clout in the gambling-and-hotel business than anyone alive with the possible exception of Donald Trump...
...even now and then in the '60s and '70s, he would produce paintings and prints of considerable power. Sometimes they would be folded into series of variations on the old masters and 19th century painters he needed to measure himself against, such as Velazquez and Goya, or Poussin, Delacroix, Manet and Courbet. In his last years particularly, his production took on a manic and obsessive quality, as though the creative act (however repetitious) could forestall death. Which it could not. His death left the public with a nostalgia for genius that no talent today, in the field of painting...