Sherrie Levine |
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There was, by my count, one compelling work of art included in βThe Pictures Generation, 1974β1984,β an exhibition that recently closed at the Metropolitan Museum of Art. Paul McMahonβs Postcard Fan (Girl in a Bathing Suit) (1975) shouldnβt be lauded for its pictorial invention: Aligning seventeen copies of the same postcard in a circle so that the title figure kicks her shapely gam like a Busby Berkeley-style perpetual motion machine is, at best, art school clever. But McMahon captured collageβs capacity for the absurd in a winningly efficient manner. Squeaking by on kitsch appeal, Postcard Fan provided much-needed whimsy. If there was one thing that marked the cadre of like minds at the Met, it was a deadening lack of humor. This βgenerationβ was no fun.
But, boy, did it think a lot. βThe Pictures Generationβ focused on a network of artists who came of age after Minimalism and Conceptualism had taken root in the academyβCalArts, the Disney-funded school for the temporarily outrΓ©, figured heavily in its purview. Taking as a given the notion that visual art had reached its culmination in the idea and the object, a group of heady young students dedicated themselves to commenting on the obsolescence of high culture and on the false promises of aesthetic reward.