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 common survey of the last decade. In a quantity alive with visible photos which are frequently remarkable and infrequently irritating, he analyzes the advance either one of previous types and of recent ones, and gives a coherent framework for the final reader.
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Extra info for Art in the Seventies
An example of what I mean can be discovered in a pair of images by the German artist Nils Udo. In one, he shows us an empty bird's nest, photographed in situ. In the other he shows a gigantic imitation of a bird' c nest created by himself in a woodland setting, with his own figure lying at the bottom of the bowl in order to indicate the scale. I find something especially haunting about this idea. The vast artificial nest seems to belong to a fairy story written by the Brothers Grimm. It has the true Nordic eeriness.
Harris Gallery, York (Photo: Eric Below: Nicholas Monro: Portraits of 1978. Felicity Samuel Gallery, London / / 62 New Pollitzer) Max Wall. Installation, \ x Figures It is especially interesting to compare Hanson's work with that of two leading English figurative sculptors, both of whom are related to Super Realism without showing all the typical features of the movement. Nicholas Monro does work which is an offshoot of the Pop Art of the 60s - something which could also be said . r of Super Realism itself.
The sense of sight is scale, irreconcilably at war with the sense of smell and that of touch. Why do these illusionist replicas appeal to a wide audience? Not merely because they are both skilful and surprising. There is actually a sense of magic about them. The transmutation of materials was the aim of medieval alchemists, and we still hanker after the secret. Often, however, the artist brings about the desired transmutation without attempting to deceive. The effect, however, can be no less essentially magical.