Word: warholism
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Dates: during 1970-1979
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...Rublowsky. Yet who today shall say he was not right? By 1965 pop had become the most popular movement in American art history, drenched in ballyhoo, gratefully supported by legions of collectors whose appetites bore the same relation to connoisseurship that TV dinners do to poulet en demi-deuil. Warhol, Lichtenstein, Indiana, Rosenquist, Wesselmann, Oldenburg, Johns and Rauschenberg became instant household names, not counting their swarm of epigones. "What we have with the pop artists," wrote the English critic Lawrence Alloway, "is a situation in which success has been combined with misunderstanding." He had coined the term...
...weird way, this show exhales as musty and involuntary a breath of vanished time as any revival of neoclassicism. Andy Warhol's Campbell's Soup can, once considered an icon of intimidating cool, has become a sort of madeleine. Irrevocably, the cachet of pop has gone, and many of its artifacts now look tenuous. It cannot be long before some enterprising museum (the Metropolitan?) opens a '60s Period Room, to go with its transplanted Louis Quinze paneling and reassembled colonial parlor: a Wesselmann and a Warhol Marilyn on the stainless-steel walls, a coffee table strewn with...
Johns and Rauschenberg, then, and Oldenburg, and some Warhol, a good deal of Lichtenstein and a few pieces by Rosenquist and (surprisingly enough, in view of his calamitous recent work) by Jim Dine: such are the survivors. The losers are more numerous...
Subsequent issues carried cover stories on Andy Warhol and George Gershwin. These articles, while not exactly breaking new ground, provided competent retrospectives on two very different but indigenous U.S. artists. Alternating supplements on science and education (a holdover from the Charney-Veronis experiment) have offered thoughtful pieces on the moral quandaries of psychosurgery and the inequities produced by funding public education through property taxes. Joining the SR/ World masthead and beefing up its critical sections are some old SR contributors who parted company with Cousins when he left the magazine in 1971: Critics Irving Kolodin (music), Henry Hewes (drama...
...Duchamp's career and to his immeasurable influence. His works now appear to be essences, concentrations of theory and expression that have nourished the creative spirit for six decades. His juggled compositions antedate John Cage by a generation. His readymades anticipate the objects of Jasper Johns and Andy Warhol. Rauschenberg has dedicated works to Duchamp; such disparate artists as Georgia O'Keeffe, Alexander Calder and Yoko Ono have paid him tribute. Abstract Expressionism, Op art, even structures that destroy themselves have their roots in Duchamp's work and spirit...