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...memo also classified various groups by their Interpersonal Orientations, or IOs. High-IO groups were whites, males and concrete thinkers as well as "persons with high need for achievement." Persons with low IOs were females, African-Americans, low risk-takers, abstract thinkers and "persons with high need for affiliation and power...

Author: By Evan P. Cucci, CONTRIBUTING REPORTER | Title: Memo Draws Fire | 11/2/1992 | See Source »

...West, however, philosophy is not confined to the abstract but is a practical touchstone for life. Using his own life as an example, West urged Tuesday's audience "bridge the gap between one's rhetoric and reality, one's promise and performance...

Author: By Joanna M. Weiss, CRIMSON STAFF WRITERS | Title: Westward Bound: | 10/30/1992 | See Source »

...fear has moved from the abstract to the substantial. And how can you trust anyone in an environment in which the sickness underlying every soul is more truthful then the moral transparency? Everyone is saying this: all movies delve the layers of madness; all codes of morality are tainted as relative, or simple extensions of our ego's needs to be discarded when necessary...

Author: By Tony Gubba, | Title: Being Afraid | 10/29/1992 | See Source »

...strange. Was he the greatest architect of the 19th century (as the young Philip Johnson twittingly called him) or the first great one of the 20th? Even as he was, years ahead of his time, denuding interiors and dreaming up schemes for mass- produced housing, he loathed the new abstract art from its beginning. Johnson planned to include Wright in his epochal 1932 Museum of Modern Art show on the International Style, but Wright peevishly pulled out, unwilling to be lumped with designers he considered hacks. Wright slagged his architectural descendants, calling the International Style "totalitarian." Yet he remained...

Author: /time Magazine | Title: Master Of All He Surveyed | 10/5/1992 | See Source »

...tension and its anxieties from Cezanne. But there has never been a great figurative artist who did not feel and exemplify it. It can be as poignant in Giotto or even in Poussin as it is in Cezanne or Matisse. For Matisse it was of prime importance, whereas in abstract art it tends to fall away, because one end of the cord is no longer anchored in the world and its objects. This is not an argument against abstraction, but it helps explain why, in those abstract paintings that derive from Matisse, one so rarely feels the urgency of their...

Author: /time Magazine | Title: Art: Matisse The Color of Genius | 9/28/1992 | See Source »

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