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...built into his even more spaced-out images from the '70s, in which legible but quite unrelated signs for things float on a field of color in a way that very distantly recalls Miro. Cadillac/Chopsticks, 1975, is just what it says: the rear-half profile of a '60s Caddy, bulbous with fins, and in the lower right a red X depicting a pair of chopsticks. Nothing else. One is not much helped by the otherwise useful catalog essay of Ned Rifkin, to whom, it seems, Moskowitz "revealed that the Cadillac might represent Hollywood glamour and the car culture...

Author: /time Magazine | Title: Art: Zen And Perceptual Hiccups | 3/12/1990 | See Source »

...flaked and faded word Caroline painted in aqua script across the bulbous nose of an old Convair fuselage looms up unexpectedly and stuns you. There sits one of the most evocative remnants of Camelot, silent in the pale winter sun, assaulted by the sounds of pizza parlors and service stations. The suburbanites of Silver Hill rush by this tiny corner of Maryland uncomprehending. Thirty years ago, the world knew. Two engines would belch smoke and roar a message of adventure, as John Kennedy staked out his New Frontier across the nation...

Author: /time Magazine | Title: Silver Hill, Maryland: A Flight Down Memory Lane | 3/5/1990 | See Source »

...urban creature; the countryside frightens me," says Kyoto-born Noboru Tsubaki, whose Fresh Gasoline, 1989, a 9-ft.-high bulbous yellow pod, is the most startling work in the show. The creepy beauty and rich surface texture of Tsubaki's monstrous blob, with tentacle-like branches sprouting from its top, recall a fascination with the grotesque that characterized some Japanese avant-garde art of the 1950s and early '60s. Its inspiration: Japan's bombed-out landscape after World War II. Strains of this extreme aesthetic are still visible today in the ghoulish makeup and gestures of butoh dancers. Similarly, Shoko...

Author: /time Magazine | Title: Art: No More Tributes to Mount Fuji | 7/31/1989 | See Source »

...synonymous with political graft that today William Marcy Tweed is recalled mainly by the sobriquet Boss. But Novelist Morris Renek knows that the bulbous, corrupt Tammany Hall leader was not merely a caricaturist's dream. He was an authentic 19th century figure with plans and desires -- not all of them villainous. Bread and Circus imagines Tweed in his salad days, graduating from modest alderman to urban caliph. The campaigner swiftly learns to deny himself nothing, devouring vast meals, acquiring power at the expense of the citizenry, puffing like a beached whale as he sports in the percales with a period...

Author: /time Magazine | Title: Books: Summer Reading | 7/27/1987 | See Source »

With his sheath of white hair, his bulbous nose and whalelike body, Tip O'Neill is a caricaturist's dream. Over the past decade, cartoonists have made the Speaker of the House almost as familiar an American icon as Uncle Sam. Though Republicans depicted Democrat O'Neill, 73, as the incarnation of bloated liberalism, the Speaker actually stands for something both larger and smaller: the beliefs that Government should help remedy the inequities of society and that a politician should help those in his own backyard. "All politics is local," O'Neill liked to say; he built his career around...

Author: /time Magazine | Title: Farewell to a Quartet of Kings of the Hill | 11/10/1986 | See Source »

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