Word: artists
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Dates: during 1970-1979
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...always been an intoxicating experience for the artist. Tranquil and turbulent, uncontrollable and cruel, the ocean eludes him in a way that other scenes do not. Landscapes are firm and familiar; still lifes intimate. Portraits, by their very nature, are personal. But the seascape must represent the aloof and detached ocean, and it is this defiant refusal to bend to man's control that has driven painters to conquer the sea on canvas. In a refreshing summertime exhibit, the Newark Museum has mounted two dozen marine paintings that show the various ways in which 19th century artists sensed...
Never has Bergman created in any other film a more clinical, reductive, spiritless, or hollow prototype of himself as artist, or more aptly, as architect of the themes of human torment. Elis looks and even dresses in a way that resembles the director and shares as his defense against the world the same vast resignation and distancing. Bergman devises his own special "alienation effect," with the actors speaking to the camera about what sort of person each character "is," as if they are universal givens. Whereas Brecht and Godard use the technique of actors speaking as themselves to remind...
Half a semester before graduation, Diana and her friends Florence Ballard and Mary Wilson auditioned for Gordy. His advice was quick and certain: Finish school and come back when you graduate. The trio showed up again in July, and Gordy enrolled them in his special course of daily "artist's development" etiquette lessons. Under Gordy's tutelage, the Supremes, as they called themselves, turned into the most immaculately coiffured, intricately turned-out trio since the McGuire Sisters. And they were ever so poised. The girls were taught how to sit properly, how to shake hands ("The firmness...
Russ Meyer describes with immediacy and candor the ethos of the majoritorian American. He is not an artist, he makes few aesthetic decisions, rather Meyer is a story teller with the same preconceptions and prejudices as his characters. Though his ambitions for film as a creative medium are minimal, Beyond the Valley of the Dolls crystalizes a moment in the history of American aspirations and manners...
Kirchner the conductor, like Kirchner the composer, is an exuberant, vibrant artist. He seems a little of everything-his precise hand movements reminiscent of Bruno Walter's, his body moving and even leaping off the ground with an enthusiasm like Bernstein's, his hair like Barbirolli's flowing mane-an artist totally consumed by his art. Yet he has nowhere sacrificed accuracy for emotion, and the clarity of his music, like the quality of his orchestra, is outstanding...