
THE NOW FUTURISM AND THE THEN ZEITGEIST: MIKE KUCHAR’S SINS OF THE FLESHAPOIDS (1965)
Some artists see an infinite number of movies. . . .
Robert Smithson, “Entropy and the New Monuments,” Artforum, June 1966
THE ATOMIC WAR of October 1962 had been averted. There was a heady momentpresaged by the New York World’s Fair that opened in the spring of 1964 and heralded by the appearance of Roy Lichtenstein’s drawing Great Rings of Saturn!! on the cover of Art in America that April: Pop Art merged with Science Fiction, and the Future was Now.
This was not necessarily perceived as a Bad Thing. The celluloid harbinger of the Now Futurism was Michelangelo Antonioni’s Red