“Between the Clock and the Bed”

Like the insurrection of rock and roll against show tunes and sugary popular music, Munch’s touchstone images came to satisfy a yen for something grittier and more urgently engaging than the formalism, based in Impressionism and Cubism, that was upheld by art historians at the time. His sensibility suited a generation convinced that it had invented sex, in the sixties, and the pleasures and panics of narcissism, in the seventies. “Between the Clock and the Bed” coincides neatly with the impending boomer discovery of death. (We will then mercifully get off the world’s nerves.)

[The New Yorker]