Word: brush
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Dates: during 1970-1979
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...Does-burg's majestic but unbuilt design of 1923 for a university hall-refer to no ideology of the state. The aim of such work is to clean the mind and purge emotion; to construct a paradise of fundamental shape. Instead of the "handwriting" of brush marks, the clear flat surface; instead rf the knotted shadows of expressionism, the sunny rectangle-color as disembodied energy. Hygiene is an obsessive theme of constructivism: a design like J J Pieter Oud's Cafe Restaurant De Unie, 1925, is not to be imagined with a scintilla of city grime...
Arthur Armstrong In 1969 Irish Artist Armstrong ended a losing seven-year struggle with the Dublin tax authorities; it seems that he kept artistically inaccurate records of his brush-and-easel expenses. Now spared the drudgery of bookkeeping, Bachelor Armstrong, 53, ambles through an unhurried life of painting ("There is a limit to the amount you can produce to satisfy yourself) and making the rounds in Dublin. "You can get to know everybody here," says he. "In London, there's too much territory to cover...
...look around Wigglesworth B-21 and start counting, you will find two book cases, four closets, four towel racks and four tooth-brush holders. There are three bedroom cubicles and a living room cluttered with unpacked boxes and randomly positioned furniture. Wigglesworth B-21, originally a triple, makes a reasonably comfortable quad. But this year five freshmen are living there...
...which they swarmed. Supposedly the young groupies, who numbered in the hundreds, lined up at the box office each week at four in the afternoon; by eight, the line trailed blocks away. After the concert, reports one biographer, the youngsters would loiter in the backstage area just to brush the maestro's sleeve as he hurried to his limousine. None of the extramusical sycophancy would have turned Stokowski's head. He was unjustly thought an egotist because of his theatrics on the podium, his links with wealthy and glamorous Hollywood women and his self-styled revolutionary manner. But even...
Forty years earlier in his career, Matisse had demonstrated, with his big canvases of dancing figures, that he was a master of energetic motion. There is a clear difference, though, between the degree of energy that a pencil or brush can express and the kind of incisive force that the bite of his scissors gave to Matisse's later image of a figure in ecstatic movement, La Danseuse, 1949. The directness of such a cut-out could not be repeated in paint. No drawn profile could approach the strictness of a cut edge, and the paper...