Word: art
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Dates: during 1960-1969
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...Sphinx series is far from Munch's finest work. The pictures are too busy, too fussy, too blatantly overloaded with message. Possibly because they meant so much to the artist, they lured him into abandoning his cardinal principles of art. Munch developed his spare "symbolistic" style about 1892. It was based on the elimination of modeling and minor details, on emphasizing rhythmic contours and outlines. Above all, it meant subjugating technique to subject, then crystalizing subject itself into a single unforgettable image...
...most recent concerts-last week at Philadelphia's Academy of Music, the week before at Manhattan's Metropolitan Museum of Art* Nina and her audiences have connected early on, and it has been a ball all the way. She has danced around her piano once or twice to prove it. For their part, the audiences have greeted her message things with complete concurrence, as well as applause and standing ovations...
...Jazz and Charles Lloyd quartets. Like the Met's controversial Harlem on My Mind exhibition (TIME, Jan, 24), the series is designed to promote Negro culture and to bring blacks into the museum. Jazz in museums is getting to be a vogue The Los Angeles County Museum of Art, the City Art Museum of St. Louis, and Chicago's Museum of Contemporary Art have all sponsored jazz concerts within the past year. In Manhattan, the Museum of Modern Art has held summer jazz events since 1960, and the Whitney Museum of American Art got into the swing last...
...maddening self-consciousness of Bach's techniques wears away, he and Wyden say, as couples master the art of intimate battle. "Our system is not a sport like boxing," the authors write. "It is more like a cooperative skill, such as dancing." But they warn that "with acquaintances, clients or 'dates,' a bad fight can be final." And although the technique is rooted in the footnotes of wide scholarship, Bach himself admits that some responsible critics worry that the method is too superficial and only skims the surface of deeper problems...
...life, this sense has made its victims unwilling, if not unable, to participate in a traditional society; they are the sideshow of mass culture, offering freakish realizations of hidden fears and fantasies. In art, absurdity has changed form by radically altering the relationship among man, his pride and his gods. The dramatic structure that created the liberating pity and terror of the Oedipus plays, for example, only makes sense if one truly believes that there are gods who would destroy a man who grows too arrogant. Even the Freudian metaphors that have been used to give modern meaning...