Summary
* Yet, like "Alma Silueta," many of the pieces that stick with you are those least designed to last. On Jan. 1, 1980, for instance, the Collaborative Projects artists group opened The Real Estate Show, intended to highlight how Manhattan abandoned its buildings. The city shut the show down the same day, but Becky Howland's imaginative poster for it lives on. It's a stencil on a sheet of The New York Times, a white octopus whose tentacles encircle little orange buildings. The image's abrupt lines are softened by the spray-paint's mist; it's cheap, smart and effective, even timeless.
* Just as the Downtown scene continued Warhol's own work of erasing the line between high and low culture, so it specialized in both placing art outside of galleries and making a gallery out of the streets. Photodocumentation of seminal graffiti art here includes John Fekner's giant, LEDlettered "Toxic Junkie" and Rich Hambleton's iconic, arms-akimbo street-punk silhouettes, which on dark nights surely made many a pedestrian jump.See the full content of this document
Extract
Something's Burning
IN NOVEMBER 1975, Ana Mendieta dug a human-shaped hole in the ground, filled it with a white shroud and set it on fire. She started at the crotch. The breeze-blown flames s...
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