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How is Pop's legacy to be understood, this recent tradition of the self-confidently flat? Jeff Koons, Richard Prince, Takashi Murakami, Michel Majerus, the Thai super-copy--are these instances of critical repetition or of traumatic return? Or are they instead the products of a Nietzschean intensification, a pure Steigerung without critical will or dialectical hope: even more affirmative of the market, even more cynical in their exploration of commodification? In a 1988 essay about Warhol's "one-dimensional" art, Benjamin Buchloh condemns the constructions of Warhol as a Garden Furniture Cushion particularly effective amalgamation of the entrepreneurial worldview of Sonoma Riata Garden Furniture the late twentieth century and the phlegmatic vision of consumers, who can celebrate in his work their status of having been wiped out as subjects: "Regulated as they are by the eternally repetitive gestures of alienated production and consumption, they are barred--as are Warhol's paintings--from access to a dimension of critical .
Resistance." Since those words were written, commercialism globalization of capital and, concomitantly, of visual culture and of the art market, has taken a quantum leap. It's interesting to note that a number of the artists particularly interested in the aesthetics of the commodity in the 1980s have in more recent years developed their respective practices in relation to "exotic" cultural traditions. In the case of Meyer Vaisman, it's the artist's native Venezuela that offers ample visual material for explorations of cultural hybridity, what he has labeled "transculturalization in Bridal Shower Invitations Gerber Daisies reverse." Ashley Bickerton, on the other hand, who has lived and worked in Bali since 1993 (the year of his show "Just Another Shitty Day in Paradise! [A Travelogue]"), has developed lurid figurative he Buddhist a cast of grotesque .
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