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...vulnerability to age and gravity, its indelicate openness. Hesse's role in providing American art with an exit from the minimalist impasse was crucial. Her ambition was to go in below the level of style, making art whose sensuous appeal was obliterated by its coarse, laconic materials: latex, cheesecloth, scrap metal...

Author: /time Magazine | Title: Art: Vulnerable Ugliness | 1/1/1973 | See Source »

Hesse called Hangup "the most ridiculous structure I ever made, and that is why it is really good. It has a kind of depth of soul of absurdity." The form of her later pieces-ragged sheets of latex, irregular fiber-glass cylinders strewn at random on the floor, tangled webs of rubbery cord hanging from the ceiling like a three-dimensional version of Pollock drips-is partly an effort to give sculpture the fluidity of abstract-expressionist painting and partly a direct celebration of incongruity. Decoration, she believed, was "the only art sin." It was not a peccadillo she ever...

Author: /time Magazine | Title: Art: Vulnerable Ugliness | 1/1/1973 | See Source »

...mounted them on the outside walls of his house. In his artistic development, Darling went through a fairly long Cezanne period and had an affair with early Grandma Moses. In his short Renoir stage, he managed to get the soft wispy effect in his tree leaves by dabbing on latex paint with an ordinary shaving brush. When he was under the Turner influence, he found he could create raging waves by running a dry thumb across Sherwin-Williams Aqua...

Author: /time Magazine | Title: ECCENTRICS: Scmford Darling Paints His House | 4/5/1971 | See Source »

Magic and Line. The most mysterious and commanding work in the show is by a young New York sculptor. Nancy Graves. 30. Her Shaman is a group of ten objects made of latex, muslin and wire, hanging from the ceiling. They derive (she says) from the ceremonial costumes worn by priests of the Kwakiutl Indian tribe in North America, and they have an eerie "presence," as if the magicians, like shadows, had vacated the elaborate cloaks and headdresses, which were also their skins of power, and left the shucked-off relics behind them, battered but still imbued with magical force...

Author: /time Magazine | Title: Art: Out of the Junkyard | 1/4/1971 | See Source »

...minutes are spent considering the latex paint and high gloss on the polished wooden floors that have replaced whitewash and brush brooms, inevitably softening the mean reality of turn-of-the-century Texas hill-country life. Then the familiar voice of Lady Bird Johnson, tape-recorded and piped through speakers in each room, leads the group through: "You are now looking in what was the President's nursery. The small Teddy bear on the cradle was the President's favorite...

Author: /time Magazine | Title: American Scene: A Visit to Lyndon Johnson's Birthplace | 7/27/1970 | See Source »

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