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	<title>Style &#38; DesignCategory: Art &#124; Style &#38; Design &#124; TIME.com</title>
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		<title>Style &#38; DesignCategory: Art &#124; Style &#38; Design &#124; TIME.com</title>
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		<title>Cambodia Calls for Return of Khmer Antiquities</title>
		<link>http://style.time.com/2013/05/16/cambodia-demands-u-s-return-its-khmer-antiquities/</link>
		<comments>http://style.time.com/2013/05/16/cambodia-demands-u-s-return-its-khmer-antiquities/#comments</comments>
		<pubDate>Thu, 16 May 2013 17:00:09 +0000</pubDate>
		<dc:creator>Yue Wang</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[antiquity]]></category>
		<category><![CDATA[Cambodia]]></category>
		<category><![CDATA[Khmer]]></category>
		<category><![CDATA[metropolitan museum of art]]></category>
		<category><![CDATA[New York]]></category>
		<category><![CDATA[Phnom Penh]]></category>
		<category><![CDATA[repatriation]]></category>

		<guid isPermaLink="false">http://style.time.com/?p=2369257</guid>
		<description><![CDATA[A new round of art repatriation is happening in the United States. American museums and private collectors are giving back prized antiquities following foreign governments’ claim that the treasures were looted from their archeological sites. In the past six months, the Dallas Museum of Art, the Toledo Museum of Art and the J. Paul Getty Museum in Los Angeles have all sent back ancient items of Italian origin. Now, Cambodia’s Khmer antiquities are at the center of the great giveback. After New York’s Metropolitan Museum of Art decided in early May to return two looted statues, Cambodia is calling for Americans to follow the Met’s lead and send back all ancient artifacts that they “unlawfully” or “illegally” possess, the New York Times reports. (More: Herakles, Weary No More: Boston Museum Returning Top Half of Famous Statue to Turkey) The Southeast Asian country believes that hundreds of Khmer antiquities that thieves stole from its ancient temple complexes during the bloody 1970s civil war era are now in the United States, according to the National Public Radio. The two 10th-century statues that Met would return next month are from Prasat Chen, a more than 1,000-year-old site now hiding in the jungles of Koh Ker, which is about 180 miles northwest of Phnom Penh and capital of the Khmer empire during King Jayavarman IV’s rule. The statues, the “Kneeling Attendants,” had flanked the doorway to the museum’s Southeast Asian galleries after they were donated separately in 1987 and 1992. U.S. officials have found proof that the statues were indeed looted from Prasat Chen, where a dozen sculptures illustrating Hindu epics used to stand but six of them, including the Met ones, have found their way into the United States, according to the Times. (More: In Cambodia, China Fuels Deadly Illegal Logging Trade) Cambodian officials want the rest of the six antiquities returned. Thanks to the 1970 UNESCO Convention that aimed to curb antiquity trafficking, most museums have refrained from buying antiquities without clear provenances. But Cambodia says it has traced three of the<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=style.time.com&#038;blog=39651711&#038;post=2369257&#038;subd=timestylelife&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Art</primary_category><primary_category_link>http://style.time.com/category/art-2/</primary_category_link><featured_image>http://timestylelife.files.wordpress.com/2013/05/style_khmerart_may16.jpg?w=150</featured_image>
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		<title>Givenchy&#8217;s Riccardo Tisci Buys Marina Abramovic&#8217;s Soho Townhouse</title>
		<link>http://style.time.com/2013/05/10/givenchys-riccardo-tisci-buys-marina-abramovics-soho-townhouse/</link>
		<comments>http://style.time.com/2013/05/10/givenchys-riccardo-tisci-buys-marina-abramovics-soho-townhouse/#comments</comments>
		<pubDate>Fri, 10 May 2013 15:35:04 +0000</pubDate>
		<dc:creator>Natalie Gontcharova</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Design]]></category>

		<guid isPermaLink="false">http://style.time.com/?p=2369195</guid>
		<description><![CDATA[Givenchy creative director Riccardo Tisci has had a rather busy week. On Monday, he co-chaired the annual Metropolitan Museum of Art Costume Institute Gala, which took on a punk theme this year, and a bevy of celebrities—including Rooney Mara, Madonna, Beyoncé, and a pregnant Kim Kardashian—showed up wearing his designs. On Tuesday, Curbed reported that Tisci had laid down a cool $3.06 million for the Soho townhouse of his close friend Marina Abramovic, known as the grandmother of performance art. Abramovic originally purchased the two-family townhouse to share with Tisci, who is not only a longtime friend but a creative collaborator. While Tisci occupied the top two floors, Abramovic lived on the three lower floors, which open onto a Japanese rock garden and the house&#8217;s crowning glory, a lap pool. Tisci and Abramovic are birds of a feather, as she tells it. &#8220;When Riccardo and I met, I felt like we had the same tastes. I really love fashion, and he really loves art,&#8221; she told Harper&#8217;s. &#8220;For me, having Riccardo is like finding your identity.&#8221; The two have found ways to merge their passions beyond sharing a living space, too. Not only was Abramovic featured in Givenchy&#8217;s Spring 2013 campaign along with Kate Moss, but in a 2011 photograph from Visionaire magazine that represents Abramovic&#8217;s opinion between fashion and art—and plays to Tisci&#8217;s fascination with religious iconography—he is seen suckling at her breast. In 2011, the asking price for the 4,600-square-foot, Federal-era townhouse was $5.79 million, according to Streeteasy, but the price may have dropped because it&#8217;s currently configured as a two-family home. The townhouse is located on 54 King Street between Varick Street and Sixth Avenue, on the border of Soho and Tribeca. As Douglas Elliman notes, the two halves of the house are very different: &#8220;This 21&#8242; wide property features a modern and minimalist-inspired lower half with high ceilings and loft-like rooms facing the back garden complete with a full-sized heated swimming pool and rare Japanese landscaping details. Limestone floors, a sleek kitchen and exquisite bathrooms are complemented by the floor<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=style.time.com&#038;blog=39651711&#038;post=2369195&#038;subd=timestylelife&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Design</primary_category><primary_category_link>http://style.time.com/category/design/</primary_category_link><featured_image>http://timestylelife.files.wordpress.com/2013/05/tisci.jpg?w=100</featured_image>
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		<title>Arts Briefing: A Preview of Frieze New York 2013</title>
		<link>http://style.time.com/2013/05/09/arts-briefing-a-preview-of-frieze-new-york-2013/</link>
		<comments>http://style.time.com/2013/05/09/arts-briefing-a-preview-of-frieze-new-york-2013/#comments</comments>
		<pubDate>Thu, 09 May 2013 15:17:04 +0000</pubDate>
		<dc:creator>TIME Staff</dc:creator>
				<category><![CDATA[Art]]></category>

		<guid isPermaLink="false">http://style.time.com/?p=2369163</guid>
		<description><![CDATA[After its Big Apple debut in 2012, Frieze New York returns to Randall&#8217;s Island Park this weekend. Running May 10-13, the contemporary art fair will feature 180 galleries from 32 countries around the globe. Frieze New York, a stateside spinoff of the bigger Frieze Art Fair in London, is primarily split into two sections: &#8220;Focus,&#8221; which highlights galleries less than 10 years old and work that&#8217;s previously not been shown in an art-fair atmosphere, and &#8220;Frame,&#8221; which presents solo exhibitions that have been overseen by Frieze curators. This year&#8217;s fair also marks the introduction of an education initiative called &#8220;Frieze New York Education,&#8221; which allows public school students from 4th to 12th grades to learn about color theory and contemporary art through several workshops. Here, TIME looks at a few pieces visitors can expect to see this weekend.<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=style.time.com&#038;blog=39651711&#038;post=2369163&#038;subd=timestylelife&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Art</primary_category><primary_category_link>http://style.time.com/category/art-2/</primary_category_link><featured_image>http://timestylelife.files.wordpress.com/2013/05/01_suh-lm16333-wielandstr-18-12159-berlin-21st-century-museum-2012-inst-02.jpeg?w=150</featured_image>
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		<title>The Creative Mind: Q&amp;A with Artist and Architect Maya Lin</title>
		<link>http://style.time.com/2013/05/02/the-creative-mind-qa-with-artist-and-architect-maya-lin/</link>
		<comments>http://style.time.com/2013/05/02/the-creative-mind-qa-with-artist-and-architect-maya-lin/#comments</comments>
		<pubDate>Thu, 02 May 2013 09:45:31 +0000</pubDate>
		<dc:creator>Allison Berry</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[architecture]]></category>
		<category><![CDATA[art]]></category>
		<category><![CDATA[Here and There]]></category>
		<category><![CDATA[Maya Lin]]></category>
		<category><![CDATA[The Creative Mind]]></category>

		<guid isPermaLink="false">http://style.time.com/?p=2368950</guid>
		<description><![CDATA[Maya Lin vaulted to fame when she was just 21 as the winner of the competition to design the Vietnam Veterans Memorial. Her powerful monument led the architecture student to a robust career creating artworks, buildings, sculptures and memorials, with a growing focus on environmental issues. Lin’s latest show consists of two complementary exhibitions, in New York and London, that explore natural forms and topography. She spoke to TIME about maps, memorials and her evolution as an artist. How do both parts of your current exhibition Here and There relate to each other? They’re both connected to looking at our world with more of an environmental concern. The There isn’t just about London. It’s about more of a global outlook; a lot of the subjects are from all over the world. Whereas the Here show focuses solely on New York: the city, the Hudson River system, and New York State. So they balance each other—one is more local, and one is more global in outlook. Have you always been interested in maps? I have been interested in maps for a couple decades now. It started with explorations I would make in used atlases. I would buy them and start cutting into them, making almost sculptural drawings out of them. I work in such a large scale out of doors that the maps to me become a link, to be able to have a discourse at a smaller human scale inside. But the inside works almost always relate to a larger exterior worldview. (MORE: 5 Questions with Art Collector and Interior Designer Maria Brito) How has your perspective on environmental issues evolved throughout your career? Walter Smith / Courtesy of Pace Gallery As a child I was extremely concerned with environmental issues. I actually thought I was going to become a field zoologist. It’s always come out—whether I was volunteering to be on the board of the Energy Foundation or the NRDC’s board—and I think it’s always been there in the art.  From the very first, the Vietnam Memorial, it was<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=style.time.com&#038;blog=39651711&#038;post=2368950&#038;subd=timestylelife&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Art</primary_category><primary_category_link>http://style.time.com/category/art-2/</primary_category_link><featured_image>http://timestylelife.files.wordpress.com/2013/04/56569_lin.jpg?w=150</featured_image>
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		<title>The Creative Mind: Q&amp;A with Pop Surrealist Gary Baseman</title>
		<link>http://style.time.com/2013/04/24/the-creative-mind-qa-with-pop-surrealist-gary-baseman/</link>
		<comments>http://style.time.com/2013/04/24/the-creative-mind-qa-with-pop-surrealist-gary-baseman/#comments</comments>
		<pubDate>Wed, 24 Apr 2013 18:03:55 +0000</pubDate>
		<dc:creator>Allison Berry</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Gary Baseman]]></category>
		<category><![CDATA[Skirball Cultural Center]]></category>
		<category><![CDATA[The Creative Mind]]></category>
		<category><![CDATA[The Door Is Always Open]]></category>

		<guid isPermaLink="false">http://style.time.com/?p=2368789</guid>
		<description><![CDATA[Gary Baseman’s childhood was built on a dichotomy. Growing up in sunny California, he was exposed to “Disneyland, the Dodgers and McDonald’s,” he says, but his parents were Eastern European Holocaust survivors who tried to shield their offspring from their own pain. As an artist, Baseman has explored both the pop and the macabre through a body of work that he describes as “pervasive,” replete with paintings, editorial illustrations, art performances, vinyl toys, TV animation and board games. His retrospective, “The Door Is Always Open,” at L.A.’s Skirball Cultural Center opens April 25, and the accompanying book, published by Rizzoli, is available now. Here, he speaks to TIME. Can you talk about the meaning of the phrase “the door is always open”? That phrase has stuck with me, especially after losing my father about three years ago. That was a phrase that he would always tell me. It was his way of saying, Gary, don’t be afraid to visit your folks. But I also took it in a broader sense, that no matter how well or not well I was doing in my life, his home was always open to me. (MORE: Equality Sans: A Typeface for Marriage Equality) How do you intend for viewers to interact with your art? The idea of a traditional retrospective didn’t interest me as much as creating some kind of art installation. I wanted to create an environment where people could be welcome. Each room would represent a theme within my work. So you could come into the dining room, and the dining room is about celebration. You walk through my hallway, and that’s about journeys. You go into the study, it’s about inspiration and heritage. You go into the den and it’s about play. And then you can go sit in my chairs in the den and turn on my TV show Teacher’s Pet and watch that. You can go to the game table, sit down and play the game Cranium, which I created the characters for. I wanted something that was interactive,<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=style.time.com&#038;blog=39651711&#038;post=2368789&#038;subd=timestylelife&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Art</primary_category><primary_category_link>http://style.time.com/category/art-2/</primary_category_link><featured_image>http://timestylelife.files.wordpress.com/2013/04/garybaseman_p015.jpg?w=150</featured_image>
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		<title>The Creative Mind: Q&amp;A with Photographer Thomas Ruff</title>
		<link>http://style.time.com/2013/04/02/the-creative-mind-qa-with-photographer-thomas-ruff/</link>
		<comments>http://style.time.com/2013/04/02/the-creative-mind-qa-with-photographer-thomas-ruff/#comments</comments>
		<pubDate>Tue, 02 Apr 2013 14:30:03 +0000</pubDate>
		<dc:creator>Allison Berry</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[art]]></category>
		<category><![CDATA[creative mind]]></category>
		<category><![CDATA[photograms]]></category>
		<category><![CDATA[thomas ruff]]></category>

		<guid isPermaLink="false">http://style.time.com/?p=2368389</guid>
		<description><![CDATA[Thomas Ruff is an innovative lensman who has devoted his career to exploring the boundaries of photographic manipulation. The German artist studied objective photography under Bernd and Hilla Becher at the Düsseldorf Art Academy and went on to create widely-exhibited series of portraits, nudes and computer-altered images. Ruff spoke with TIME about his techniques, formative influences and where he’s going next. Your photogram series is inspired by 1920s photograms [camera-less photography where objects are placed on photographic paper and exposed to light]. How did you modernize the process from when it originated close to a century ago? I had the idea of trying to make some photograms, but quite soon I realized that I cannot do it in this old-fashioned technique. I didn’t like the limitation of size. Also, I did not like the idea of the chance, of those uncontrollable things that can happen when you put [an object] on the photographic paper, you remove it, and then you want to in a way reconstruct the image you did before. So quite soon I developed the idea of doing all of this in a virtual darkroom. (VIDEO: Balance: Held Together by a Feather) Can you explain how you created the ma.r.s. series? That also happened by chance. I was surfing on my favorite webpage NASA two years ago and I discovered they had put 3D black-and-white photographs of the Martian surface online, and that you could download them, with a resolution that is really incredible. I had been playing around with low-resolution images before, where I changed the format of the image, the perspective. I transformed this black-and-white image, and then I gave color to the landscape. You studied with Bernd and Hilla Becher when you were a student in the ‘70s and ‘80s. Did that experience have a big influence on the development of your aesthetic? I think yes—I’m still practicing what I learned there [laughs]. Courtesy David Zwirner, New York/London Thomas Ruff, phg.04, 2012 You seem to want viewers to see the man behind the machine, to<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=style.time.com&#038;blog=39651711&#038;post=2368389&#038;subd=timestylelife&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<title>Balance: Held Together by a Feather</title>
		<link>http://style.time.com/2013/03/22/balance-held-together-by-a-feather/</link>
		<comments>http://style.time.com/2013/03/22/balance-held-together-by-a-feather/#comments</comments>
		<pubDate>Fri, 22 Mar 2013 12:00:30 +0000</pubDate>
		<dc:creator>Valerie Lapinski</dc:creator>
				<category><![CDATA[Art]]></category>

		<guid isPermaLink="false">http://style.time.com/?p=2368236</guid>
		<description><![CDATA[Artist Maedir Eugster usually performs his balancing act in front of a crowd under spectacular, colored lights with the Rigolo Swiss Nouveau Cirque.  But when photographer Tobias Hutzler saw the performance, he visualized a different approach. Hutzler’s work often takes him to the deserts of the southwest United States, where he uses the landscape as a canvas. For the “Balance” shoot, he aimed to create that atmosphere in a studio. With the theatrics shorn away, the camera hones in on Eugster’s focus and tension as he creates a sculpture predicated on the balance of a single feather. “I’m really interested in temporary sculptures,&#8221; said Hutzler. &#8220;I thought it was important to have an overview of the scenery, but also very close up to see the tension that is building up in the fingers. The energy is transformed from the artist’s body into an artwork. It&#8217;s almost a zen moment.&#8221;<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=style.time.com&#038;blog=39651711&#038;post=2368236&#038;subd=timestylelife&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<title>Big Air Package: Christo&#8217;s Heavenly Installation Unveiled in Germany</title>
		<link>http://style.time.com/2013/03/21/big-air-package-christos-heavenly-installation-unveiled-in-germany/</link>
		<comments>http://style.time.com/2013/03/21/big-air-package-christos-heavenly-installation-unveiled-in-germany/#comments</comments>
		<pubDate>Thu, 21 Mar 2013 07:00:42 +0000</pubDate>
		<dc:creator>Rebecca Nelson</dc:creator>
				<category><![CDATA[Art]]></category>

		<guid isPermaLink="false">http://style.time.com/?p=2368184</guid>
		<description><![CDATA[The latest project from Christo, the contemporary artist known for his sprawling, large-scale works with late wife and collaborator Jeanne-Claude, opened in Germany last week. Big Air Package is a massive, voluminous fabric dome reaching 90 meters high and 50 meters wide. According to the artist&#8217;s website, it is the largest inflated envelope (without a skeleton) ever. It completely fills the Gasometer Oberhausen, a large former gas holder and exhibition hall in western Germany. The goal, said Christo, 77, is to leave visitors &#8220;virtually swimming in light.&#8221; Big Air Package is showing at the Gasometer Oberhausen from March 16 &#8211; December 30, 2013. Photos by Wolfgang Volz      <img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=style.time.com&#038;blog=39651711&#038;post=2368184&#038;subd=timestylelife&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Brave New World: Exploring the Future of Museums</title>
		<link>http://style.time.com/2013/03/13/exploring-the-future-of-museums/</link>
		<comments>http://style.time.com/2013/03/13/exploring-the-future-of-museums/#comments</comments>
		<pubDate>Wed, 13 Mar 2013 12:30:43 +0000</pubDate>
		<dc:creator>Rebecca Nelson</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Design]]></category>

		<guid isPermaLink="false">http://style.time.com/?p=2367928</guid>
		<description><![CDATA[The assembly line looks stalled—its cogs jammed, maybe, or someone has inadvertently unplugged it. Yet the industrial machine hums softly, and one of the miniature objects drops into a collection box at the end of the line. The conveyer belt does move: one inch every 50 seconds. The 3D printer at the start of the line works away, churning out more objects at roughly the same pace. Older objects, removed from the box earlier, hang from a makeshift mobile just above the assembly line. &#8220;It’s not a realistic platform for a museum,&#8221; designer Keetra Dean Dixon concedes of the above scenario. Rather, she and her collaborator-husband, JK Keller, intended their &#8220;Museum As Manufacturer&#8221; installation to probe the possibilities of what a museum could become. (WATCH: 3D Printing: Make Your Own Products) Their work is just one of the pieces on display at &#8220;After the Museum&#8221;, an exhibition and platform for more than 30 designers to propose what will happen to museums in the future. Opened March 12 in New York City, it&#8217;s the third iteration of the Museum of Arts and Design&#8217;s annual series on American design, and the first physical exhibit for the program. Over the course of its three-month run, lectures, workshops, discussions and interactive performances will explore the idea of museums and their evolution. Jake Yuzna, MAD&#8217;s manager of public programs, says the exhibition doesn&#8217;t view &#8220;after&#8221; as a complete end, but a place to brainstorm possibilities for museums. &#8220;What can they be, and what should they be? We&#8217;re in the new millennium,&#8221; Yuzna says. &#8220;This exhibit really looks to say, &#8216;Well, what should they shift to? What does it make sense to do? Is there another way? Do we need galleries anymore?&#8217; In a big way, it&#8217;s exploring that question.&#8221; With new technology comes changes in the museum platform. Inspired by the transformative manufacturing process of 3D printing, Dixon and Keller&#8217;s installation pushes the limits of what exactly the museum&#8217;s role is. They&#8217;ve started with open-source digital files that they say represent how disruptive the technology is. That is, how 3D printing<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=style.time.com&#038;blog=39651711&#038;post=2367928&#038;subd=timestylelife&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>0</slash:comments>
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		<title>TIME Turns 90: The Fine Art of the Red Border, from Warhol to Lichtenstein</title>
		<link>http://style.time.com/2013/03/04/warhol-lictenstein-time-cover/</link>
		<comments>http://style.time.com/2013/03/04/warhol-lictenstein-time-cover/#comments</comments>
		<pubDate>Mon, 04 Mar 2013 10:45:35 +0000</pubDate>
		<dc:creator>Amy Lombard</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[90th anniversary time]]></category>
		<category><![CDATA[andy warhol]]></category>
		<category><![CDATA[cover art]]></category>
		<category><![CDATA[lictenstein]]></category>
		<category><![CDATA[time magazine]]></category>

		<guid isPermaLink="false">http://style.time.com/?p=2367445</guid>
		<description><![CDATA[At many points in its 90-year history (check out our 90th birthday celebration — and vote for the cheesiest TIME cover), TIME has offered up its iconic red border as a canvas, and asked renowned artists to illustrate the top stories of the day. From the striking Roy Lichtenstein pop art that accompanied a June 21, 1968 cover story on &#8220;The Gun in America&#8221; (see below) to Marc Chagall&#8217;s self-portrait that began our July 30, 1965 issue, readers have become accustomed to seeing cover images that have been painted, sculpted, collaged and transformed by some of the world&#8217;s most visionary talents. From Man Ray to Shepard Fairey, we look back at the artists who have graced our cover. The most colorful covers, from the past 90 years: December 14, 1936: Surrealist Salvador Dali Artist: Man Ray See larger cover. April 12, 1937: Virginia Woolf Artist: Man Ray See larger cover. May 7, 1945: Adolf Hitler Artist: Boris Artzybasheff See larger cover January 5, 1959: Man of the Year: Charles DeGaulle Artist: Bernard Buffet See larger cover. April 6, 1962: Sophia Loren Artist: J. Bouche See larger cover January 3, 1964: Man of the Year: Martin Luther King Jr. Artist: Robert Vickrey See larger cover January 10, 1964: R. Buckminster Fuller Artist: Boris Artzybasheff See larger cover February 28, 1964: Thelonious Monk Artist: Boris Chaliapin See larger cover April 24, 1964: Lenin Artist: Ben Shahn See larger cover January 29, 1965, Today’s Teenagers Artist: Andy Warhol See larger cover March 5, 1965: Jeanne Moreau Artist: Rufino Tamayo See larger cover March 19, 1965: Martin Luther King Artist: Ben Shahn See larger cover April 16, 1965: Rudolf Nureyev Artist: Sidney Nolan See larger cover July 30, 1965: Marc Chagall Artist: Marc Chagall See larger cover March 3, 1967: Playboy&#8217;s Hugh Hefner Artist: Marisol See larger cover September 22, 1967: The Beatles Artist: Gerald Scarfe See larger cover December 8, 1967: Bonnie and Clyde Artist: Robert Rauschenberg See larger cover May 24, 1968: Robert F. Kennedy Artist: Roy Lictenstein See larger cover June<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=style.time.com&#038;blog=39651711&#038;post=2367445&#038;subd=timestylelife&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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