Word: guitars
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Dates: during 1980-1989
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...1930s, with their bulls and horses, virgins and Minotaurs, caves, ruins and nymphs. Allegory was the conscious, intelligible form of Picasso's vast instinctive talent for metamorphosis, whereby a single form could harbor two or more literal meanings: a glass of absinthe including a drunkard's head, a guitar turning into a torso or a vagina, a bicycle seat becoming a bull's head. Moreover, the ability to handle allegory was the proof of high ambition: Gauguin had gone to Tahiti to paint huge emblems of human fate, not just to see papayas...
...fiddle backs, zinc bars and smokers' fingers. Objects were sunk in a twinkling field of vectors and shadows, solid lapping into transparency, things penetrating and turning away, leaving behind the merest signs for themselves?a letter or two, the bowl of a pipe, the sound hole of a guitar. This sense of multiple relationships was the core of cubism's modernity. It declared that all visual experience could be set forth as a shifting field that included the onlooker. It was painting's unconscious answer to the theory of relativity or to the principles of narrative that would emerge...
...with painting, so with sculpture. Picasso's Guitar of 1912, an array of cut and folded metal sheets that opened to let space in, was the first constructed sculpture in the history of art. It abolished the solidity, the continuous surface that had been, until then, the essential narrative of sculpture. From that unpromising-looking piece of rusty tin, a 60-year tradition of open-form sculpture was born that spread from Russian constructivism to the work of Anthony Caro in England and David Smith...
...calls his electronic touches "Frippertronics," but the sounds they produce differ very little from other widely used synthesizers that simulate orchestral timbers. Fripp proudly displays his toy on his solo in "Urban Landscape," but the moment seems as impressive as watching smog roll in on Los Angeles. Fripp's guitar playing earns him much more credit...
...denial of any commercial pretenses. "NYCNY" fuses a number of rhythms together to symbolize a relentless struggle to remain afloat in New York. Songs this complex could easily fall apart, but the band admirably surges through the difficult changes in beat. Caleb Quaye, Kenny Passarelli and Roger Pope, on guitar, bass and drums, respectively, provide Hall with a solid foundation. They, too, on this album depart from the popsy material they usually play. Formerly the backup band for Elton John on Rock of the Westies, and for Kiki Dee, they now leave the world of teeny-bopper 45s and enter...