Word: artists
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Dates: during 1970-1979
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...Metaphor. Ever since the Futurists declared a racing car to be more beautiful than the Winged Victory of Samothrace, artists have thought about connecting their work to the Faustian energies of 20th century technology. Never has the dream become more urgent than in today's electronically conditioned society. It is a fundamental issue because the very idea of "experiment," endlessly declared to be the founding principle of modern art, is really a metaphor drawn from science and industry. The problem is that industrial experiment radically changes the world, whereas artistic experiment does so only marginally and for a minority...
Whoopee it was as 76 "proettes" teed up for the Eve L.P.G.A. championship in Sutton, Mass., last week. The tour's new image makers went all out. "See Diane Patterson," blurbed the promoters, "a former flying-trapeze artist turned golfer." See Sandra Palmer, "a Texan who is only 5 ft. 1½ in. tall but can belt the ball a mile." See Donna Caponi, "a young lady who plays a mean game of golf during the day and cuts an equally mean watusi at night." And see Pam Barnett, "a North Carolinian who throws her wig instead of breaking...
...Jesus-rock music is both professionally and theologically solid. Larry Norman, probably the top solo artist in the field, attacks the occult in his album Upon This Rock: "Forget your hexagram/ You'll soon feel fine/ Stop looking at the stars/ You don't live under the signs." Many Jesus-rock musicians commit their lives as well as their talent. Drummer Steve Hornyak, 30, of The Crimson Bridge, gave up a $35,000 house, a Toronado, and a career as a school-band director when another Jesus musician challenged him to "go tell about Jesus." Scott Ross, 31, a former...
...Western audiences, the most accessible filmmaker to recognize contradictions between his themes, and his style and method is Ingmar Bergman. Although the contradictions he recognized were not political-as were those of the self-proclaimed revolutionaries-the problems he encountered illustrate an archetypal confrontation between a "self-contained" artist and social turmoil he could not avoid...
...Hour of the Wolf, his next film, seemed a throwback, a last effort to exorcise personal demons in a traditional story film. But the subsequent Shame is a vision completely externalized. The film begins in darkness; an alarm clock rings, bedroom shades are thrown open, and until the portrayed artist and his wife finally set adrift in a sea of war dead, the audience is enveloped in a dream objectified by the directness of Bergman's artistry. One recognizes the degree of control the filmmaker has exercised because his film is so concentrated, so perfectly removed from the real world...