Word: artists
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Dates: during 1970-1979
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Once in a generation there appears an artist who by virtue of voice and temperament seems to symbolize an entire school of singing. Today, Birgit Nilsson is the archetypal Wagnerian Soprano, just as Jussi Bjoerling was the ultimate Italian Tenor during the 1940s and '50s. Both are Swedish, proving that national style has nothing to do with nationality. Since the death of Leonard Warren in 1960, no one man has been acknowledged by critics and conductors as the quintessential Italian Baritone. Now, though, there may be a legitimate claimant to the title. Like Warren and Lawrence Tibbett before...
Segal casts his sculptures direct from life in his studio outside New Brunswick, N.J., a converted chicken house whose successive rooms, dimly lit and filled with immobile plaster figures, suggest an archaic burial chamber. The models are the artist's friends. Segal watches them, studying their gestures and movement until, he says, "one moment clicks with me. A person may reveal nothing of himself and then suddenly make a movement that contains a whole autobiography." The pose held, Segal covers the model's hair with Saran Wrap and the exposed flesh with grease; then he wraps...
...ordeal for an artist to see most of the work he's done in the past decade all put together," said British Sculptor Henry Moore recently in Manhattan. "It's like reviewing your life and being -well, a bit critical." He was tired after a week spent supervising the installation of two large one-man shows in two midtown galleries, but Henry Moore need not have worried. At 71, his work shows fresh subtleties of invention and a heightened sensuousness of surface...
Visiting with Charles Eames evokes a kaleidoscope of images rather than words: he defies labeling. Eames is the designer and architect, the artist and film-maker, the scientist and philosopher. Perhaps the connection is his gift as problem-solver- whether it's in designing a computer exhibit for the new IBM building or in joining a metal support to the back of a chair...
KAFKA SUPPOSED that the artist was like a "soaring dog," like the small animals floating invisible through the world above our heads: "They have no relation whatever to the general life of the community, they hover in the air, and that is all, and life goes on its usual way; someone now and then refers to art and artists, but there it ends." Poets would like to emulate the Investigations of Kafka's dogs, or even become fish, as Virgil Thompson has suggested; for they have always found the chore of living among the forms of possibility a tedious...