Word: artists
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Dates: during 1970-1979
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...paradox of the man turns out to be as fascinating to dance fans as the miracle of the artist in flight. Offstage he broods aloud about the "moral preparation" and asceticism that he insists are as important to the dancer as physical training -while avidly sipping a Scotch and soda and smoking cigarettes. He thinks of himself as a loner, "a wolf lost from the pack," but he is perhaps another kind of wolf as well. He has conducted affairs with several women-among them, dancers he has worked with-since arriving in the West last summer. He ended...
This excitement doesn't come from witty titles like Dean-Askin's Bottcellis parody. The Dearth of Venus of Ta Kuang Chang's Portrait of the Artist as a Young Mouna L a. Nor does it show up in Carlo G. Brogna's paating of a toilet with an accompanying roll of toiled paper tacked to the wall. Julia Allard's say of three mouths-obviously an assignment from a drawing class-is less striking than any of these but also more hosest. Because it's good--she's taken a simple exercise and brought life...
Apart from the Venezuelan artist Jesus-Raphael Soto, only one of the painters on whom the Op label was stuck ten years ago seems to have really developed, continuing to produce work of the utmost seriousness. She is an Englishwoman named Bridget Riley, whose first New York show in seven years opened last week at the Sidney Janis Gallery...
...tilted compassion, his ability to make human even the most grotesque mockery. The novel, a series of interrelated sketches, does not have the strong narrative that lends itself best to film adaptation. So this movie has trouble finding a focus. The protagonist is Tod Hackett (William Atherton), an aspiring artist who works in the production department of a major studio. Hackett also nourishes a private vision of cataclysm, which he wants to get on canvas and call The Burning of Los Angeles. It is good to know this in advance, for although Schlesinger shows Hackett making sketches and studying faces...
...those opera singers who long to perform in nightclubs, Flack yearned for her classical roots. "One of the hassles of being a black female musician," she says, "is that people are always backing you into a corner and telling you to sing soul. I'm a serious artist. I feel a kinship with people like Arthur Rubinstein and Glenn Gould. If I can't play Bartok when I want to play...