By Edward Lucie-Smith
A critic and historian of paintings who's deeply immersed within the works and developments of the seventies the following presents the 1st basic survey of the last decade. In a quantity alive with visible photographs which are usually remarkable and occasionally hectic, he analyzes the improvement either one of outdated varieties and of recent ones, and gives a coherent framework for the final reader.
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To find a parallel, one has to go back as far as the little caricature sculptures that to the studies made by Daumier, and beyond of expression made by the Austrian sculptor Franz Xaver what Monro has done is to marry caricature and the study of expression to the popular tradition of using figures as advertising signs. His versions of Max Wall are also direct descendants of the cigar-store Indians of the late nineteenth century. The concern with styles which lies at the core of Monro's work obviously makes it very different from that of Hanson, but the comparison does at least suggest one thing - that the sculpture of the 70s is sometimes a sculpture of social concern.
There are also allusions to Ballets Russes stage-design, ularly to the and partic- work of Bakst, Derain, Larionov and Gontcharova. The half-way stage between off-stretcher and pattern painting as New York critics now usually define it can Above: Alan Shields: Spin Art. 1973-5. 6 cm (53 53 in). Collection Richard Brown Baker (Photo: courtesy Paula Cooper Gallery, New York) • Below: Joyce Kozloff: Tent, Roof, Floor. Carpet. Whitney Biennial installation, 1978. 8 cm (51 x 57 in). , New York (Photo Eeva- : inkeri) Bottom: Katherine Porter: Jugglers, Egyptians.
She can only find out what the work will be like by actually completing it: and when it is completed, it serves as an explicit record of the chosen number series and process of construction. Opposite top left: Claire Zeisler: Coil Series 165 x203 x203 cm Galleries, New (65 x 80 x 80 in). - A Celebration. Hadler-Rodriguez II top right: Francoise Grossen: Hadler-Rodriguez Galleries, New York Opposite hanging 42 II. Fibre. York Ann Sutton: Installation view of work the 70s. Fabric tube stuffed with wadding, sewn and Opposite bottom right: Opposite bottom Inch worm left: Irene Waller: Group of Five.
Art in the Seventies by Edward Lucie-Smith
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