The band previously known by nearly half a dozen other names including The Five Sounds, The New Dimensions, The Soul Town Band, The Jazziacs, and Kool & The Flames, became Kool & The Gang in 1969. That year, they released their first single called “Kool & The Gang” and their self-titled album as well. Continue reading Kool and The Gang Stained Glass Window
Lynda Benglis‘ work of poured latex takes painting to an extreme. Despite employing a medium, that is not itself paint, Benglis nonetheless draws attention to paint’s essential, primary properties: color and liquidity. To make Contraband (1969), the artist created, mixtures of powdered pigment and latex in 5-gallon cans that she then poured and let run on the floor with minimal intervention. Continue reading Modern Art Monday Presents: Lynda Benglis, Contraband
Arlo Guthrie has kept the music and legacy of his father, Woody Guthrie, alive for decades. His 1969 album, Running Down the Road, includes his fathers song “Oklahoma Hills” alongside original songs such as “Coming Into Los Angeles.”
When Claes Oldenburg was a child, he played with a toy version of the 1937 Chrysler Airflow, the first car designed according to aerodynamic principles. Profile Airflow (1969) was inspired in part by that memory. The artist, known for his soft sculptures based on everyday objects, wanted it to be “clear in color, transparent like a swimming pool, but have a consistency like flesh.”
Ilona Keserü belongs to a generation of Hungarian artists that emerged in the wake of the Revolution of 1956, which had resulted in restrictions on officially acceptable art and suspicion of avant-garde art produced in Western styles — particularly abstraction. Keserü and other Hungarian artists flourished in abstract modes, despite this marginalization. A vibrant unframed tapestry, Wall-Hanging with Tombstone Forms (1969) exemplifies her desire to merge modern abstraction with references to Hungarian folk culture, making something with local resonance out of an otherwise international vocabulary of hard-edge painting. The undulating, toothlike motif recurring throughout the composition relates to artists study of gravestones at the Balatonudvari Cemetery, southwest of Budapest.
Photographed at the Metropolitan Museum of Art in NYC.