Word: blakely
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Dates: during 1960-1969
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Like the Daily Double. These elements have been enough to bring Du Pont many a windfall. They came together, for example, in a narrow darkroom in the industrial area of Parlin, N.J., where Physicist R. Kingsley Blake produced Du Pont's new no-negative photographic film. Blake started out by simply trying to untangle a peculiar phenomenon that he had been observing for a few months: faint positive images that unaccountably appeared on sheets of film. He was sure that the reaction was caused by any one of countless chemicals in his photo lab-but which one? Working...
...that ol' ultimate message through to me would be like adequately describing one's sensations when high on drugs to someone who's straight. When Allens tells you of his visitation from Blake, or proclaims, "I have seen God; I saw him in a room in Harlem," he is high on his own soul. You, you passionless bourgeois, you're straight. Can you think of a better place in this shell-shocked...
...Among the other signers: Paul Tillich, Reinhold Niebuhr, United Presbyterian Church Leader Eugene Carson Blake, Methodist Bishop John Wesley Lord, American Hebrew Congregations President Maurice Eisendrauth, Washington National Cathedral Dean Francis B. Sayre...
...PETER BLAKE, 32, insists that painting should be pleasing to non-cognoscenti. To Blake's delight, his The Da Vinci Brothers was bought by a professional soccer player. "What I'm doing becomes a folk art," he says. For ten years, since he first enrolled at the Royal College of Art, he has filled his paintings with medals, badges, fancy lettering, pinups, comic strips (he incorporated one in a 1957 painting), athletes,, pop singers from Elvis to the Beatles. Unlike U.S. pop artists, whom he believes (incorrectly) to be harsh satirists, Blake packs his pictures with instant memorabilia...
...print photographs that strike him. "I feel it's so wasteful not to use the images you find around you," he says. In 1960 he finished 34 delicate frottage drawings to illustrate Dante's Inferno, and by using multiple images achieved an effect that neither Botticelli nor Blake, Dore nor Dali, would have dreamed of: he put each entire canto on a single sheet of paper...