Rivka Rinn

Galleria Mazzocchi

In our century, the connection between new art and the traditions that have preceded it implies the Picasso model, by which an artist appropriates the most varied techniques, incorporates the most disparate objects and elements, cultivates stylistic discontinuity, and pursues a nomadism of the imagination and experience. Yet, despite such a heterogeneous approach, a characteristic “something” persisted in the work of each artist who followed that model. It may be a particular kind of motif that, for most post-Picasso artists, has signified “form,” in the noblest sense attributed to this word by Western culture. But, even when an artist eliminated the distinctive motif that characterized the work, another “something” always remained discernible and constant: the personality of the artist. This is less easily identifiable, but nonetheless, as in a trial based entirely on circumstantial

to keep reading

Artforum print subscribers have full access to this article. Please sign in below.

Not registered for Register here.

SUBSCRIBE NOW and save up to 65% off the newsstand price for full online access to this issue and our archive.

Order the PRINT EDITION of the May 1988 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.