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Some may find such imagery not merely archaic but positively oldfashioned: invocations of the chthonic and the primitive have been standard modernist fare for three-quarters of a century. But Bourgeois uses her primitive quotations to get past the conventional groupings of modern art history-the litter of isms that tells us so little about the real meanings of art-and to rummage painfully between the layers of her own makeup. What equivalents can art find for depicting femaleness from within, as distinct from the familiar conventions of looking at it from outside through the eyes of another sex? What...

Author: /time Magazine | Title: Art: A Sense of Female Experience | 11/22/1982 | See Source »

Perhaps if T.S. Eliot '10 resided in a Harvard house today, he would use a similar indicator--tea bags. The great modernist bard might have found the most intriguing daily reading not in any of his text books or any college publication, but on the tags of Salada tea bags...

Author: By Thomas J. Meyer, | Title: Tea-ing Off | 11/10/1982 | See Source »

Other early complaints centered on Updike's refusal to tinker with fiction in the approved post-modernist fashion. He recalls, "I certainly did feel left out of the black-humor thing when it was heavily publicized, because it did sound like an awful lot of fun, and they were getting all this serious attention...

Author: /time Magazine | Title: Perennial Promises Kept | 10/18/1982 | See Source »

...world; no small irony, since this son of a New York State country tanner struggled his whole life against pauperism. Later he would be considered rather a fuddy-duddy compared with the abstract expressionists, a generation behind him. He was, in that way, a victim of orthodox modernist thinking-which tended^ to suppose that his art had not "evolved" beyond its representational purposes, toward abstraction. In the late 1950s, when Avery was 70 and at the peak of his talent, his prices were about one-tenth of Pollock's. (They still are, but Pollock's now cost millions...

Author: /time Magazine | Title: Art: Milton Avery's Rich Fabric of Color | 9/27/1982 | See Source »

...committed modernist à la française, Avery treated the figure as a strictly formal affair: patch for the dress or bathing suit, patch for face, no detail. In the process he often produced a curious scragginess. The parts of the bodies rarely connect well, and have noli me tangere written all over them. Sometimes his lumpish ladies on the beach suggest Thurber. In Matisse, no matter how reduced the outline may be or how schematic the stroke of the crayon that says "eye," "breast" or "hip," one can almost always sense the live weight of a body, its organic...

Author: /time Magazine | Title: Art: Milton Avery's Rich Fabric of Color | 9/27/1982 | See Source »

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