Word: 80th
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...Avenue, overlooking the Central Park Reservoir. City officials promise tourist buses will mind the music and step lively when they drive past Jackie's new home; and the whole arrangement couldn't be handier for the family, since Peter and Pat Kennedy Lawford live on Fifth at 80th Street, Princess Radziwill (Jackie's sister, Lee) at 78th, Steve and Jean Kennedy Smith at 76th. Some Republicans have a toehold farther down, where the Nixons, Nelson Rockefellers, and Nelson's ex-wife Mary live in the same building at 62nd Street, but the Massachusetts delegation comes back...
JOHN HELIKER-Kraushaar, 1055 Madison Ave. at 80th. In Interior, Heliker lays color on color as if cleaning up his palette, elicits a surprisingly subtle suggestion of a chair. In Rocks and Trees, Maine, the Columbia University painting prof stacks up icy whites and blues like cubes, captures the cold beauty of the rocky coast. In Still Life with Bowl of Fruit, dusty rose and orange tumble from his brush to make one of the most pleasing works in the show. Also some fine drawings. Through...
...birds and birdmen, but if Raskin's themes remain unchanged, his treatment is always fresh. Few artists break up space so imaginatively, or trap the animal lurking in humans with more cunning. Some of the 22 drawings are eight feet high. At AFI, 1067 Madison Ave. at 80th: four illustrations for the Yiddish edition of The Old Man and the Sea. Both through...
When he's happiest is when he's snorting, and he did plenty of it. But in his 80th birthday week, Harry Truman was all choked up between potshots at the press, the Republicans, and everyone else within BB range. President Johnson telephoned Kansas City with early congratulations. "I wanted to call collect," ho-hoed L.B.J., who then added: "When you blow out those candles, I hope you think of all the lights you have turned on during 80 years." But the biggest thrill came during a birthday appearance on the Senate floor. After eulogies from no fewer...
NORRIS EMBRY-Elkon, 1063 Madison Ave. at 80th. Embry lifts the curtain on a drama in which shadows and echoes are the actors, and reality is as fleeting as a specter. With charred cinders for eyes, a face floats freely into space, tilting wanly as it rises, while tiny robed figures wander aimlessly in streams of nervous color. Embry affirms this disressing vision with a bold, negative gesture: he signs his works NO. Thirty small monotypes, mixed media and oils. Through...