Word: paint
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Dates: during 1960-1969
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...does use paint. Any other resemblance in the recent works of Enrique Castro-Cid to traditional artmaking is a backward stretch of the imagination. His palette also includes electromagnets, electric eyes, air compressors, motion-picture projectors; his gift is in knowing how to combine them deftly into an esthetic commentary (see opposite page). Says he: "I put all the components together to make a situation that is not predictable...
There were paintings, sculpture, dance and music-of a sort. At the happenings that Kaprow and his colleagues staged, the "actors" splashed paint on canvas, played electronic John Cage music, danced like puppets with leaden strings, climbed up cardboard mountains, peeled oranges and clothes on stage. To get the audience into the act, they gave them newspapers to tear up, even ran their hands up female spectators' legs...
After twenty years of exposure to the complexities of world politics, he instinctively avoids extreme stances of public posture. He'll caution a student "not to be so severe" or appeal to a reporter "not to paint me too critical." When a CRIMSON headline nevertheless had him "attack" General Maxwell Taylor, the word disturbed him by its agressiveness. And when SDS and SNCC asked him to appear with Julian Bond in a meeting entitled. "The Dirty Little War," he refused outright...
...days before he died last week of a heart attack, Bavarian-born Hans Hofmann, 85, stopped by at Manhattan's Kootz Gallery to see his current exhibition, 21 large oils, all but two painted within the last year. A pretty, 13-year-old schoolgirl, feasting her eyes on the bright rectangles aswim in impastes of Christmas-color oils, turned to the great, grey, shambling man and asked timidly, "Aren't you Mr. Hofmann?" With a beam, he nodded, replied, "And of course you paint yourself." For him there was no higher activity and he meant...
...someone did not paint, he could take care of that too, for Hofmann was a born teacher. His knowledge of the convulsions of 20th century art was firsthand. He had known Picasso, worked alongside Matisse in sketch classes in Paris. Synthesizing such high-key colorism with cubism, he practiced and preached an intuitive, joyous abstract expressionism. His doctrine of "push and pull," by which he tried to reintroduce the tensions once created by depth perspective into the picture plane, flattened by modern artists, became the byword of abstract expressionism, and he himself became the movement's prime mentor...