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By Edward Lucie-Smith

A critic and historian of paintings 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visible photographs which are usually marvelous and occasionally anxious, he analyzes the improvement either one of outdated kinds and of recent ones, and gives a coherent framework for the final reader.

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Solomon New Holly Gallery, York Bottom left: Miriam Schapiro: Pin wheel of the Orchid. 1979. 6 cm (40x40 in). (Photo: courtesy Galerie Habermann, Cologne Bottom right: Miriam Schapiro: Garden of 1979. Night. 4 cm (31x23 Courtesy in). Galerie Liatowitsch, Basel ! Robert Kushner does not merely evoke the theatre. to be worn as magnificent costumes. Nothing more opulent has been produced since Bakst was alive. But these robes suggest the Far as well as the Near East - there is a suggestion of the bold patterns on Japanese kimonos kimonos hung up on lacquered clothes racks are, it will be remembered, a favourite subject of Japanese screen- He makes paintings which are also intended painters.

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. 1979. , New York (Photo : Puppets. Magicians. x467 cm (88x184 Steven Sloman) in).

New York (detail). Post Pop and Mandarin Taste Operating on an altogether more modest scale, and intent on making energy visible rather than space, the English artist Roger Ackling used a prism to concentrate strong sunlight on a piece of paper. The resulting scorch-marks provided a permanent record of how the forces of the sun had operated at a particular spot on a particular occasion. Ackling's work has common with Walter de Maria's an obsessive neatness rudimentary composition arising from a desire for order rather than from any specifically aesthetic impulse.

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Art in the Seventies by Edward Lucie-Smith

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