• Vienna and Her Sisters. A parable, with strings.

    FOR A LONG TIME, I have gone to bed late, and, not sleeping the sleep of reason, have produced no monsters. Where I awake each day, though, is another matter. I awake in a place that supposedly no longer exists. Robert Musil, in The Man Without Qualities (1930), calls this place Kakania, and it is a place where

    the Superman was adored, and the Subman was adored; health and the sun were worshipped, and the delicacy of consumptive girls was worshipped; people were enthusiastic hero-worshippers and enthusiastic adherents of the social creed of the Man in the Street; one had faith and one was skeptical,

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  • success and Pittsburgh's 1985 Carnegie International.

    PITTSBURGH’S 1985 CARNEGIE INTERNATIONAL was a jewel of a show, a ritzy display of contemporary art with all the “quality” that one could hope for. This was the exhibition with which the Museum of Modern Art, New York, should have reopened after its renovation in 1984, rather than the halfhearted grab bag of mixed goods with which it tried to show that, contrary to critical opinion, it really was keeping up with contemporary art. The Carnegie International gave short shrift to distinctions between the provincial and the cosmopolitan, the national and the international. The art had its ups and

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  • Art jockeying in the Sistine Discos.

    WHEN STEVE RUBELL, NIGHTCLUB IMPRESARIO and excon, speaks, The New York Times listens. “Artists are becoming the stars of the 1980’s, like the rock stars of the 1960’s or the fashion designers of the 1970’s. People who used to go to singles bars on First Avenue now go to art openings on Avenue A. I don’t create things,” said one of the men who made Studio 54 and now the Palladium, “I jump on them.”

    Now that Steve Rubell has jumped on art—has it been mugged? Can art, fine art, big art, become the centerpiece, the core, of the big discos and still be big and fine? Can you make Peter Max career-choices

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