Dior (Fashion Memoir Series) by N. F. Pockna

By N. F. Pockna

Darling of excessive society, author of the "New Look", Dior shot to overseas status virtually in a single day on the age of forty seven. first and foremost his creations provoked indignant accusations of unpatriotic extravagance, yet ladies in all places quickly warmed to his hour-glass traces and lengthy, rustling skirts. during this paintings, Dior's such a lot attribute designs - attire and hats, footwear and add-ons - are featured, with an summary of his occupation and his encouraged output.

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I do not know of any other painting by an American that I could safely put next to this huge baroque scrawl in aluminum, black, white, madder, and blue. Beneath the apparent monotony of its surface composition it reveals a sumptuous variety of design and incident, and as a whole it is as well contained in its canvas as anything by a Quattrocento master. Pollock has had the tendency lately to exaggerate the verticality or horizontality, as the case might be, of his pictures, but this one avoids any connotation of a frieze or hanging scroll and presents an almost square surface that belongs very much to easel painting.

In the commodity, the concrete labor of another man is negated in its otherness, to be presented as a potential for abstract exchange among equivalent quantities of labor. An object is only ready to become kitsch if it is a commodity, and it becomes a commodity by entering (from its very conception) into the world of value, the economic world where exchange is 46 CLEMENT GREENBERG BETWEEN THE LINES not of the order of speech addressed to someone, but instead is an instrumental relation. One could say, paraphrasing Lévinas, that the commodity has no face.

When Rosenberg takes sides it is to champion De Kooning, giving up Pollock, so to speak, to his legendary rival Greenberg. 24 Clement Greenberg, “How Art Writing Earns its Bad Name,” Encounter 19, December 1962; Greenberg IV, pp. 135-144. 23 G w se se to o o to P E d M p A h w w h lo fi th 25 s s t e ” g a y: e f l : e n ” d w s n o d s h . o e e e ut ’t s es n s THE PATHS OF CRITICISM 31 Jackson Pollock’s most recent show, at Betty Parsons’s (till January 24), signals another step forward on his part.

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