Word: painted
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Dates: during 1970-1979
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...only characteristic which really unites all the artists, however, is an irreverence toward the accepted rules about what a photograph can or cannot be, can or cannot do. In an effort to express their private and often idiosyncratic views of modern life, these artists apply paint, beads and hair to their pictures, cut them up and stitch them together. They explore the artistic potential of old techniques--like gum bichromate, solarization, and cyanotype--and new chemical processes like polaroid and 3-M color. They borrow images from television and porno-magazines, create scenes in the darkroom which were never seen...
...authorized this bizarre policy of revision and neglect was one of the three executors of Smith's estate, Art Critic Clement Greenberg. About ten sculptures underwent change at Greenberg's whim, some irrevocably. Flat paint can be resprayed, but some of Smith's polychrome works were painted in a splashy, brushy manner-a handwriting that can no more be restored than the excited scribbles he made with a grinder on the skin of his stainless-steel pieces...
Narrow Imperatives. Smith, naturally, felt otherwise, and nothing in his work or writings Indicates that the sculptures he started to paint but left unfinished at his death would have been closer to his intentions if cut back to raw steel. If he had wanted them raw, he would not have begun to paint them. Indeed, the vitality and open-endedness of his work largely stemmed from his refusal to entertain the kind of narrow imperatives about painting as painting and sculpture as sculpture that Greenberg, in the days when he was writing criticism, proposed...
...counterpoint between steel and paint did not always come off, but Smith's effort to make it work was an integral part of American art history. Greenberg's decision to posthumously destroy the evidence of what he considered Smith's "failure" was, one must in charity assume, directed by sincere aesthetic motives - just as John Ruskin's posthumous burning of "pornographic" watercolors by J.M.W. Turner in the 19th century was sincerely meant to protect Turner's moral reputation...
...rancid westside stomping-ground to acknowledge the New York ghettoes, or any other aspect of disequality in society. One is to believe that muggers have simply sprung from the same cultivated turf as Kersey--yet rejected urban planning so they can beat up old men and spray red paint on a rich girl...