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...designer an occasional indulgence (her North London office, walled round with papier-mache rock, looks like Plato's cave built from a prefab kit) and a healthy dose of esthetic restiveness. "I try to be creative and earn money at it," she says. "But it's like being a painter and having a gun pointed at you. I envy Marcel Duchamp for just stopping. Though he had a rich wife." Hamnett's Buddhism keeps her on course ("I'm not into chanting, though I will occasionally when I want a parking space, which is naughty"), and her own vitality keeps...

Author: /time Magazine | Title: Fashion: Been There, Seen That, Done That | 3/16/1987 | See Source »

Fred Midler, a civilian house painter for the Navy, and his wife Ruth moved there from Paterson, N.J., in the late '30s. Ruth named Bette, the third of her four children, after Bette Davis. "My mother was, oh, stunning," Bette recalls, "and very hardworking. She sewed beautifully. She made all our clothes for years, until my parents discovered the Salvation Army. We were really poor. We didn't have a TV or a telephone until the late '50s. We lived in subsidized housing in the middle of sugarcane fields." Most of the families in the neighborhood were Samoan, Japanese, Hawaiian...

Author: /time Magazine | Title: Bette Midler Steals Hollywood | 3/2/1987 | See Source »

Salle, who was eight that year, seems not quite to have absorbed whatever lessons the text offered. Instead, he was destined to become the painter most identified with the big vogue of the early '80s, "appropriation": the copying and scavenging of images and stylistic packages, or even of whole works, from other art and the mass media. Works like Footmen, 1986, are palimpsests: some grainy silkscreens a la Warhol, a head roughly quoted from a 17th century Spanish painting, a figure leaning over a railroad bridge, a scrawled yellow outline of a girl in hot pants. They suggest narrative...

Author: /time Magazine | Title: Art: Random Bits from the Image Haze | 2/9/1987 | See Source »

...signature. Its "relevance" consists only of the accuracy with which it mirrors the inattentiveness of a culture benumbed by television. Its main debts are to James Rosenquist, for the big, juxtaposed image fragments, and to Francis Picabia, for the unassimilated layering of outline images over solid ones in that painter's late, wretchedly bad paintings. But where appropriation is concerned, it is not etiquette to speak of debt...

Author: /time Magazine | Title: Art: Random Bits from the Image Haze | 2/9/1987 | See Source »

...Whitney Museum, the "appropriations" of Painter David Salle use images from mass media in smug, slack formulas...

Author: /time Magazine | Title: Time Magazine Contents Page | 2/9/1987 | See Source »

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