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By Edward Lucie-Smith

A critic and historian of artwork who's deeply immersed within the works and tendencies of the seventies the following presents the 1st normal survey of the last decade. In a quantity alive with visible photographs which are frequently outstanding and infrequently annoying, he analyzes the advance either one of previous varieties and of latest ones, and gives a coherent framework for the final reader.

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Download PDF by Edward Lucie-Smith: Art in the Seventies

A critic and historian of paintings who's deeply immersed within the works and traits of the seventies right here presents the 1st common survey of the last decade. In a quantity alive with visible photos which are frequently striking and infrequently irritating, he analyzes the advance either one of previous varieties and of latest ones, and gives a coherent framework for the overall reader.

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Davis's exploration of illusion makes him one of the few convincing links between the aesthetic of the 60s and the typical preoccupations of the 70s. He takes his material from the earlier period, but reinterprets it in terms of the later one. Abstract Sculpture Sculpture in the 60s was largely abstract and oriented towards Constructivism. It manipulated space rather than asserting itself as form. Even Minimal work, while pointedly refusing many Constructivist options, nevertheless seemed to ask the spectator to continue thinking in Constructivist terms - to seek out opportunities for altering spatial perception which were being deliberately rejected.

Abstract Sculpture Sculpture in the 60s was largely abstract and oriented towards Constructivism. It manipulated space rather than asserting itself as form. Even Minimal work, while pointedly refusing many Constructivist options, nevertheless seemed to ask the spectator to continue thinking in Constructivist terms - to seek out opportunities for altering spatial perception which were being deliberately rejected. The alternative to this kind of sculpture was the threedimensional Pop object, best exemplified by the giant hamburgers and stuffed eggbeaters made by Claes Oldenburg.

In fact, large-scale tapestries are the point at which the conventional barrier between art and craft has been most conspicuously breached. Some of these woven art-works use relatively traditional methods of construction but unconventional materials. An example is the technique of woven collage using strips of mylar (metal-coated plastic), employed by Arturo Sandoval. Sandoval exhibits at the Hadler/Rodriguez Galleries in New York, an important focus for activity of this type. Other artists surface who have exhibited there are more inventive from the constructional point of view, but content themselves with materials which have been available for millennia - natural of all types.

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Art in the Seventies by Edward Lucie-Smith


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