Word: paolozzi
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...fanciful and futuristic. Bazaar was first to give its cachet to such formerly far-out items as bikinis and boots for women. It shattered taboos with taste, for example running a full-page picture of a female nude in 1962-Richard Avedon's portrait of Socialite-Model Christina Paolozzi. But Brady intends to take Bazaar a lot further. "I have one mandate: to make the magazine more exciting," he says. "It's been essentially dull for the last several years. All our covers looked alike. They were pictures of pretty girls saying nothing." November's cover, which...
...from elaborate silk-screen prints dedicated to Wittgenstein to a giant chrome-plated combat boot; from a stack of bombs to a sprawling collection of clippings, toys, scraps and Mickey Mouse emblems hoarded by the artist over the past 30 years. It has all been assembled by Sculptor Eduardo Paolozzi, 47, an amiable, lowering Scottish-Italian with lobster-claw hands and the build of a robot. The show, a melange of art work and subject matter, represents Paolozzi's two decades of involvement with Masscult...
...patterns that makes up most of our everyday visual experience. Much recent "novelty" art, as diverse as Pop and kinetics, is acutely conscious of that disjuncture. Indeed, the split itself has become a form of subject matter, and few men have made use of it more steadfastly than Paolozzi. For nearly a generation, he has been an indispensable provocateur...
...Clanking Robots. Paolozzi's work has always displayed an obsessive consistency of theme, even to those who in the '40s and '50s could not stomach it. Massculture artifacts are common coin in gallery art today; they were not so when Paolozzi, working in Paris, produced a whole series of collages scissored from American magazines-cover blondes from pulp thrillers, bombers and Jell-O from LIFE. Fifteen years ahead of time he predicted the grotesque iconography of lushness, repetition and violence that American artists would eventually discover in their own culture. In 1952 he helped form the Independent...
Other artists took it from there. New York's Tom Wesselmann silk-screened the image of a nude onto plastic, then shaped it to capture its contours as well. Britain's Eduardo Paolozzi used eleven colors for Wittgenstein in New York, incorporated such city elements as jets, skyscrapers, and the man from a Bufferin ad to tick off hectic modern life. Roy Lichtenstein printed his Moonscape on metallic plastic that shimmers like aluminum foil. Claes Oldenburg made a serigraph print and attached a rust-colored felt...