Download Art in the Seventies by Edward Lucie-Smith PDF

By Edward Lucie-Smith

A critic and historian of paintings who's deeply immersed within the works and traits of the seventies right here offers the 1st normal survey of the last decade. In a quantity alive with visible pictures which are frequently amazing and infrequently irritating, he analyzes the advance either one of outdated varieties and of recent ones, and gives a coherent framework for the final reader.

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1 P. C-B-1 1978. <•** Above: Jack Lembeck: Rumble s Strips. 1978. 7 cm (96x168 in). (Photo: courtesy Louis K. Meisel Gallery, New York) Right: James Havard: Chippewa. 1977. 6 vas, • cm 66 in). (60 (Photo: courtesy Louis K. Gallery, New York) Meisel 49 Above: Ron Davis: Checkerboard Bridges. 1978. 99 in). 4cm (78 Blum, Helman Gallery, New York Davis, ten years younger than Held, carries the concern for much further. 4 cm Gallery, New B-G-3. 1978. Acrylic on, canvas, (84x84 in). Andre Emmerich York (Photo: Bettina Sulzer) paradox: an abstract artist who seems to depict real objects in he first began to make an impact on the New York art world (Davis is a Californian, born in Santa Monica, who first showed at the San Francisco Art Festivals of the early real space.

1977. 4 cm (72x36 in). Andre Emmerich Gallery, York (Photo: Geoffrey Clements) Below: Nancy Graves: Streamers. 1977. 6x193 cm (64x76 in). Andre Emmerich Gallery, New York Bottom: Nancy Graves; Izy Boukir 1971. r QO »c oo-~ •or-»cr- • »o-r•or Car •3-•OrBC-•acr •«o? : •ccc eocrr ae~ •ocr«a~«srOCrr ~«or o~ OCr •cr •£ **"" * gh mao*'^" a-" 833* •C" ac •scr ^•oc 9Zi ~ •«*" _ •or m w *03 MOO~ tor •cr: Scrr vc^: C~ OGC 5; •oa~ »c~ ° •orMr. aoar ac* i BCC •OSCr •3r •aa~ «or*cr •aa •a*oc •aa *cr •o-r •or»ar%c ar sec •cr.

Bourne shared both Long's and Fulton's love of remote places - he made several adventurous expeditions to the Himalayas. These comparisons are well worth making because they enable one to pinpoint the nature of Long's activity and his powerful appeal. He, too. is a beneficiary of what I have called mandarin taste. Indeed, the comparison is in some respects extremely exact. He manipulates elements already present in the contemporary cultural mix - Western Zen, respect and nostalgia for Victorian independence and enterprise to create something which often comes surprisingh close to the classic Chinese monochrome ink-painting with its cryptic, quasi-poetic inscription.

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