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...significant aspect of the present strike movement, in contrast to earlier protests, has been the success of the dissident intellectuals at forging links with the workers and winning their support even for abstract issues such as freedom of expression and human rights. KOR is believed to be largely responsible for framing the strikers' boldest political demands; it has also provided Western reporters with detailed information on the numbers of workers and factories affected by the strikes...

Author: /time Magazine | Title: World: Poland's Angry Workers | 9/1/1980 | See Source »

...seamless, didactic relationship between nature and man. The medium of this relationship was religious experience. Here, art preached while remaining whole as art; and the result was a fervid intensity, within the image of American space, that could never quite be recaptured-despite the efforts of "transcendentalist" American abstract painters like Mark Rothko to revive it a century later...

Author: /time Magazine | Title: Books: The Unedited Manuscript of God | 8/11/1980 | See Source »

...like pole vaulters. To see this at work, one need only look at the development of Vladimir Tallin's sculpture after his first contact with Picasso's tin cubist Guitar, 1912, in Paris, or at the conviction with which Kasimir Malevich moved from cubism to a purely abstract painting...

Author: /time Magazine | Title: Art: From Russia with Abstraction | 7/21/1980 | See Source »

...past discrimination so long as that burden is not unreasonable. In a concurring opinion, Justices Blackmun, Brennan and Marshall put less stress on the powers of Congress and more on the general principle that society must, in Marshall's words, promote "meaningful equality of opportunity, not an abstract version of equality in which the effects of past discrimination would be forever frozen into our social fabric...

Author: /time Magazine | Title: Nation: Four Big Decisions | 7/14/1980 | See Source »

...stipend to study in New York. He took classes at the National Academy of Design and spent the summers in Maine. Slowly he evolved a style of his own, ignoring conventional perspective, relying heavily on expressive brush strokes. The neoimpressionist result was what Haskell calls "a degree of gestural abstraction that would not be surpassed in America until abstract expressionism." Hartley called these works "little visions of the great intangible . . . Some will say he's gone mad-others will look and say he's looked in at the lattices of Heaven and come back with the madness...

Author: /time Magazine | Title: Art: The Return of an Errant Native | 7/14/1980 | See Source »

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