Word: warholism
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Dates: during 1970-1979
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...cultural irrelevance. This fall has brought two exhibitions by American artists that underline the demise by recalling portraiture's vanished glories and suggesting its dubious status today. One is a retrospective of John Singer Sargent at the Detroit Institute of Arts. The other is a review of Andy Warhol's portraits, which opened last week at the Whitney Museum in New York City...
Alas, Fassbinder is doing more than mere fooling around. Increasingly, he seems to be the '70s heir to such past camp masters as the '50s Hollywood director Douglas Sirk (Magnificent Obsession) and the '60s Warhol disciple Paul Morrissey (Flesh). But unlike his predecessors, Fassbinder does not recognize the limits of the form. Camp is fine for movies that want to trade exclusively in offbeat humor and florid emotions. In Maria Braun, Fassbinder makes the serious mistake of try ing to convey ideas...
...once said, "walk-in Hoppers," sculptural equivalents to the world of that American master, with its nocturnal bars and waiting figures. Segal's tableaux have a flavor of the '30s-overlaid, now and then, with a sharp erotic curiosity. Instead of the irony of a '60s Warhol or Lichtenstein, one is treated to an unremitting earnestness, a moral concern with the voids between people and the circumspectness of their gestures. It is a somber sight, this "populist art," as one of Segal's admirers dubbed it; and it gives a special density to the retrospective...
Another actress Allen admires is his Manhattan costar, Mariel Hemingway, who is 17. "I wrote the part for her after seeing her in Lipstick and stumbling across her photo in Andy Warhol's Interview magazine. She met with me, and after two minutes I knew she was right. When we were making the film, she always stayed in character when we improvised. Even when I went off in an unexpected direction, she could always go with the scene...
BACK in the mid-sixties pop art made its debut on the American scene; all the most ludicrous examples of mass urban culture shined as serious artworks. Andy Warhol got rich off his Campbell soup cans, George Segal for his over-all plaster casts of live human beings, Roy Lichtenstein for his comic strip tableaux...