Word: paolozzi
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Dates: during 1960-1969
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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...
...such scruples for Christina Paolozzi Bellin, who made a great Doll Tearsheet in black and white crepe with a diaphanous midriff designed by John Kloss. She kept wishing she were nuder. "You can't even tell I'm naked," wailed the girl who made her fame by being scratched from the Social Register four years ago for posing nude from the waist up in Harper's Bazaar. And how did Christina feel about representing Shakespeare's most notorious trollop? "It's fun to play a character you'd be least likely...
...list read like a society columnist's dream: Huntington Hartford, Mrs. Eric Javits, Wendy Vanderbilt, Melinda Moon, Freddie Guest (Winston's son) and his wife Stephanie (Joan Bennett's daughter), Maria Cooper (Gary's daughter), Liza Minnelli (Judy's daughter), Alexandra Cushing and Christina Paolozzi, plus a constellation of Southampton and Newport debs, some of whom flew in for the occasion. But all eyes were on Edie and Andy...
...Menotti's show has become a way of life. Nobody (who is anybody) comes out for a day or a single event; one settles in for a week or the whole four-week season. "Once you get here, it's impossible to leave," says Countess Alice Spaulding Paolozzi, whose daughter Cristina gave the whole family a certain notoriety by posing nude and chest-high for Harper's Bazaar. Contessa Wally Castelbarco, Toscanini's daughter, "wouldn't miss it for anything," and presides over Gian Carlo's elegant collection of rival hostesses who yearn...
...Stressful Present. Two leaders of the new generation are Eduardo Paolozzi and Anthony Caro, both 41. Paolozzi turned from golem grotesques of junkyard assemblages of gears and bolts to hand-tooled totems, such as Artificial Sun, which are unthreatening icons to a world that accepts machine culture willingly. Caro, a Cambridge engineering graduate, worked with Moore for two years until "I'd come to feel that bronze was using me." So he began welding elegant elongated girderwork in steel instead of making "people substitutes" in bronze...