Marilyn quayle dating

At the , ever brainy Holland Cotter discerns a link between de Kooning and “the single most influential art movement of the 20th century”, Conceptualism. Click here for my review of MOMA’s 1997 overview of de Kooning’s late work and here for my thoughts on the de Kooning that might have been.© 2011 Mario Naves (2010), collaged digital images on Epson archival paper mounted on archival museum board with MDF and wood backing, 85″ x 60″; courtesy Sideshow Gallery * * * What is it with Rich Timperio and duos?Not altogether lazy–my reviews of exhibitions by Kirk Stoller, Li Songsong and Sigmar Polke will be appearing in next week’s edition of and, of course, here.

But first glances lead to second glances and second glances to second thoughts, all of which ultimately revealed deep-seated correspondences–between structure and pattern, between piecemeal construction, compositional intricacy, frontal compositions and technology, both confirmed (Ellerbock’s insistence on the textural integrity of materials) and subverted (Lay’s contriving Persian carpets, or something like them anyway, from reproductions of computer motherboards).As someone who finds Sherman’s early B-movie ingenue photos clever-but-not-more and all her subsequent pictures gratuitous-and-not-less, I’ll argue that Post-Modernism is what happens when mildly talented artists with limited imaginations become enamored of their own specious intellectualizing.Careerist nihilism is invariably disagreeable (witness the Met’s The Pictures Generation, 1974-1984) and usually condescending.Arrant contrivance is a tool for investigating “the construction of contemporary identity,” “the nature of representation” and “the tyranny…of images.” Reasonable avenues of inquiry, I suppose, but there’s a difference between inhabiting an invented persona and, as one wit had it, pretending to pretend.Novelty tits and a blank stare don’t prompt much in the way of sociological insight, let alone create a compelling fiction.at The Museum of Modern Art; courtesy MOMA * * * What would art be without fiction—that is to say, without the allusive sweep of metaphor?

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