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	<title>
	Comments on: Pretty, Ugly, Beautiful: Florine Stettheimer at the Jewish Museum	</title>
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	<link>https://artcritical.com/2017/07/11/max-kozloff-on-florine-stettheimer/</link>
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		<title>
		By: Billy		</title>
		<link>https://artcritical.com/2017/07/11/max-kozloff-on-florine-stettheimer/#comment-356300</link>

		<dc:creator><![CDATA[Billy]]></dc:creator>
		<pubDate>Fri, 08 Dec 2017 23:08:00 +0000</pubDate>
		<guid isPermaLink="false">https://www.artcritical.com/?p=70715#comment-356300</guid>

					<description><![CDATA[ISSUE NO. 1
Florine&#039;s paintings are a feast for the eye and soul. Words become piffle in their presence. That said, &quot;ugly&quot; in connection to the paintings of Florine Stettheimer, does not compute.

ISSUE NO. 2
Virgil Thomson was the person who chose Florine to create costumes and sets for his opera, not Gertrude Stein. If memory serves, Stein had little or no knowledge of Florine or her paintings and was skeptical of the choice. After seeing her first performance of the opera, Stein was ecstatic regarding Florine&#039;s contribution.]]></description>
			<content:encoded><![CDATA[<p>ISSUE NO. 1<br />
Florine&#8217;s paintings are a feast for the eye and soul. Words become piffle in their presence. That said, &#8220;ugly&#8221; in connection to the paintings of Florine Stettheimer, does not compute.</p>
<p>ISSUE NO. 2<br />
Virgil Thomson was the person who chose Florine to create costumes and sets for his opera, not Gertrude Stein. If memory serves, Stein had little or no knowledge of Florine or her paintings and was skeptical of the choice. After seeing her first performance of the opera, Stein was ecstatic regarding Florine&#8217;s contribution.</p>
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		<title>
		By: Martha Nilsson Edelheit		</title>
		<link>https://artcritical.com/2017/07/11/max-kozloff-on-florine-stettheimer/#comment-356012</link>

		<dc:creator><![CDATA[Martha Nilsson Edelheit]]></dc:creator>
		<pubDate>Thu, 10 Aug 2017 21:11:00 +0000</pubDate>
		<guid isPermaLink="false">https://www.artcritical.com/?p=70715#comment-356012</guid>

					<description><![CDATA[Several years ago I saw an exhibition at the Swedish Museum of Modern Art by a Swedish artist I&#039;d never heard of, Nils Dardell.
I was startled at how like Stettheimer&#039;s work it was, though it is darker in tone. His dates are close to hers. He was gay, and a dandy, and they may have met in Paris.
The Swedish artists that I was with at the exhibition had never heard 
of Stettheimer.
Sweden has long been more accepting and open to &#039;outsider&#039;, &#039;naive&#039;, &#039;none mainstream&#039; art as an important part of their intellectual and visual history.
Thank you for tackling the &#039;pretty, beautiful/ugly, charming, frothy, 
decorative, sweet&#039; in art criticism...usually used as pejorative terms!
It is a long overdue discussion. 
I remember when using pink or lavender paint was damned as too feminine (also a pejorative)...
The Stettheimer show was a real delight.]]></description>
			<content:encoded><![CDATA[<p>Several years ago I saw an exhibition at the Swedish Museum of Modern Art by a Swedish artist I&#8217;d never heard of, Nils Dardell.<br />
I was startled at how like Stettheimer&#8217;s work it was, though it is darker in tone. His dates are close to hers. He was gay, and a dandy, and they may have met in Paris.<br />
The Swedish artists that I was with at the exhibition had never heard<br />
of Stettheimer.<br />
Sweden has long been more accepting and open to &#8216;outsider&#8217;, &#8216;naive&#8217;, &#8216;none mainstream&#8217; art as an important part of their intellectual and visual history.<br />
Thank you for tackling the &#8216;pretty, beautiful/ugly, charming, frothy,<br />
decorative, sweet&#8217; in art criticism&#8230;usually used as pejorative terms!<br />
It is a long overdue discussion.<br />
I remember when using pink or lavender paint was damned as too feminine (also a pejorative)&#8230;<br />
The Stettheimer show was a real delight.</p>
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		<title>
		By: falzf		</title>
		<link>https://artcritical.com/2017/07/11/max-kozloff-on-florine-stettheimer/#comment-355984</link>

		<dc:creator><![CDATA[falzf]]></dc:creator>
		<pubDate>Tue, 11 Jul 2017 19:44:00 +0000</pubDate>
		<guid isPermaLink="false">https://www.artcritical.com/?p=70715#comment-355984</guid>

					<description><![CDATA[Wow, I&#039;m reeling. The words &quot;pretty,&quot; &quot;beauty&quot; and &quot;ugliness&quot; popping up in a headline in age of identity politics. Hell, next thing you know we&#039;ll be checking in with Lessing and Hume.]]></description>
			<content:encoded><![CDATA[<p>Wow, I&#8217;m reeling. The words &#8220;pretty,&#8221; &#8220;beauty&#8221; and &#8220;ugliness&#8221; popping up in a headline in age of identity politics. Hell, next thing you know we&#8217;ll be checking in with Lessing and Hume.</p>
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		<title>
		By: Dana Gordon		</title>
		<link>https://artcritical.com/2017/07/11/max-kozloff-on-florine-stettheimer/#comment-355983</link>

		<dc:creator><![CDATA[Dana Gordon]]></dc:creator>
		<pubDate>Tue, 11 Jul 2017 17:40:00 +0000</pubDate>
		<guid isPermaLink="false">https://www.artcritical.com/?p=70715#comment-355983</guid>

					<description><![CDATA[Sigh.  When will art writers cease to use Clement Greenberg as their bete noir, their crutch?  Anyway, Clem himself said to me, don&#039;t be afraid for your art to be pretty.]]></description>
			<content:encoded><![CDATA[<p>Sigh.  When will art writers cease to use Clement Greenberg as their bete noir, their crutch?  Anyway, Clem himself said to me, don&#8217;t be afraid for your art to be pretty.</p>
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