Has anyone bothered to thank Pepsi for its crucial little role was 1947, and a young Mississippi artist named Fred Mitchell was trying to expand his horizons. He entered one of his paintings in a contest and won a cash prize of fifteen hundred dollars-close to twenty grand today-courtesy of the sponsor, the Pepsi-Cola Company. Mitchell used his winnings to sail to Europe, where he spent the next three years meeting artists and inhaling modernism. When he returned to the States, he settled in a half-empty building on a street near the southern tip of Manhattan and invited one of his new buddies, the painter Ellsworth Kelly, to join him.
The street was Coenties Slip (pronounced "co-en-tees"), and during the next decade or so it became a bright, teeming hothouse of the New York avant-garde. The fibre artist Lenore Tawney moved into 27 Coenties Slip in 1957, the same year that Kelly persuaded the actress Delphine Seyrig and her husband, the painter Jack Youngerman, to live in the same building. Kelly also helped recruit Agnes Martin, James Rosenquist, and Robert Clark, who hadn't yet changed his surname to Indiana, let alone scattered "LOVE" sculptures across the planet. By the midsixties, you could have filled a first-rate museum with the work of Slip artists alone: abstract paintings by Kelly, Martin, and Youngerman, weavings by Tawney, assemblages by Indiana. Hanging in the lobby, one of Rosenquist's Pop canvases, starring a mound of spaghetti or (did he know?) a Pepsi logo.
هذه القصة مأخوذة من طبعة August 14, 2023 من The New Yorker.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 8500 مجلة وصحيفة.
بالفعل مشترك ? تسجيل الدخول
هذه القصة مأخوذة من طبعة August 14, 2023 من The New Yorker.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 8500 مجلة وصحيفة.
بالفعل مشترك? تسجيل الدخول
INSIDE JOB-"Hit Man"
Years before Hannah Arendt coined, in the pages of this magazine, the phrase \"the banality of evil,\" popular films and fiction were embodying that idea in the character of the hit man. In classic crime movies such as \"This Gun for Hire\" (1942) and \"Murder by Contract\" (1958), hit men figure much as Nazis do in political movies, as symbols of abstract evil.
WHATEVER YOU SAY
Rereading Jenny Holzer, at the Guggenheim.
SUBCONSCIOUSLY YOURS
Does every generation get the Freud it deserves?
BY A WHISKER
Louis Wain and the reinvention of the cat.
Beyond Imagining
Bessie, Lotte, Ruth, Farah, and Bridget, who had been lunching together for half a century, joined in later years by Ilka, Hope, and, occasionally, Lucinella, had agreed without the need for discussion that they were not going to pass, pass away, and under no circumstances on.
STATES OF PLAY
Can advocates use state supreme courts to preserve-and perhaps expand-constitutional rights?
THE LONG RIDE
The surf legend Jock Sutherland's unlikely life.
ARE WE DOOMED?
A course at the University of Chicago thinks it through.
GOD EXPLAINS THE RULES OF HIS NEW BOARD GAME
Guys, want to play this new board game? It’s called Life. No, it’s not “one of God’s impossible-to-understand games that take three hours to learn.” It’ll be fun, I promise!
RED LINE
With the election approaching, the U.S. and Mexico wrangle over border policy.
