August 1, 2013 § 3 Comments
Reading The New Yorker recently, I came across perhaps the most ridiculously ostentatious language in the history of the modern world. Speaking of a retrospective of the work of the artist Ken Price, the magazine writes:
Price’s manipulation of cup forms, variously geometric and biomorphic, amounted to a surprise attack on the history and aesthetics of modern art, spankingly refreshed and made the artist’s own. His later mode of globular masses, with sanded, speckled patinas of paint is sui generis. It exalts color to practically metaphysical intensities.