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Adams is absolutely first-rate at making the reader feel the river mist on his face, feel the brush of wet leaves across the skin of arms and thighs, or smell the stench of a sodden bear. This extraordinary ability to evoke physical detail carries the book to whatever success it has. Where the author seems weak is in the sentimentality of his conceptions. These shape what is not meant to be a children's tale into a kind of pretentious adolescent bluff: a tragic chronicle of conquest, corruption and decline that dribbles off into happily-ever-after...

Author: /time Magazine | Title: Books: Ursus Saves? | 4/28/1975 | See Source »

...Hair, More than any other cultural production of the decade, it summed up in a nest, consumable package the morality of a generation; the experimentation with sense and mind-expanding drugs, the filing with commune living, the brush with hippie hedonism, the swing with the sexual pulsation of rock music, the espousal of free love, the protest against the military-industrial complex, the let-it-all-hang-out of the be-in. The cult of hair...

Author: By Michael Massing, | Title: Soggy Suds | 4/10/1975 | See Source »

Paint, in Bacon's hands, acquires a strict and intimidating richness. Working in fast oval loops of the brush, he can give the skin of his nudes a kind of granular density, a thickness of imagined substance, that is quite old-masterly. The flesh is loose, but it is all structure too; and when the form beneath it slides away, obliterated by a wipe of the rag, Bacon can instantly tighten the image back with one detail - an eye, a patch of spiky hair like hedgehog quills. To a degree few other painters can rival, Bacon convinces you that...

Author: /time Magazine | Title: Art: Screams in Paint | 4/7/1975 | See Source »

...gray plum tree on the brownish rice paper is twisty and knuckled with age. Plum trees regenerate themselves each year, and here the new sprouts burst like porcupine quills from the bark. The brush strokes have an extraordinary intensity-not so much delicacy as martial precision: one imagines the brush slashing down and up like a sword as it described the pair of sharply angular branches that project to the left of the tree. And so it probably did; for the painter, Kaihō Yūshō (1533-1615) was the son of a warrior family, raised...

Author: /time Magazine | Title: Art: Japan's Renaissance | 3/24/1975 | See Source »

Abstract Impressionists have also been called Action Painters because they place so much emphasis on the brush and pen stroke itself. In fact, Jackson Pollock once explained his art by saying, "The source of my painting is the unconscious," and his works, some of which have been made with sticks and syringes. Indicate that he is more concerned with drips and squirts of paint than with the organization of his canvas and the control of his lines. The Action Painting trend peaked around 1950; afterwards artists returned to concrete images and forms. This exhibition seems to help explain...

Author: By Ira Fink, | Title: Taming Action Painting | 3/4/1975 | See Source »

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