Art tastes do change. When Peter Blume's big, weird, neatly painted South of Scranton won the coveted Carnegie International prize 16 years ago, critics clucked and the public pooh-poohed. This year the Carnegie jury went overboard for a yet stranger painting by Paris Abstractionist Jacques Villon (TIME, Oct. 30). The Pittsburgh public, meanwhile, has caught up with Connecticut's Blume. When the ballots were counted, the popular prize went to his entry, The Rock.
The symbolism of Blume's picturea huge, broken rock with scaffolding to the left of it and ruins to the rightis as obscure as his brushwork is precise. Blume, who...
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