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...environment." That lofty goal is honored mostly in the breach. Pollution in most urban areas is getting worse every year?not yet as bad as Los Angeles' or Detroit's, but getting there. The campaign to clean up the industrial filth in Lake Baikal?which became an international cause c??lèbre?has been the exception that proves the rule. Soviet environmentalists usually lose their battles against economic planners who are trying to meet short-term production quotas even if that means wasting resources or fouling the air, soil and water...

Author: /time Magazine | Title: Inside The U.S.S.R.: A Fortress State in Transition | 6/23/1980 | See Source »

...exhibition like this can ever be mounted again. Bozo's main work with the Musée Picasso is still before him. For Rubin, the MOMA show is the climax of a career; to have brought off, within three years, two exhibitions at such a level (the other being his C??zanne show in 1977) is in some measure to have altered the history of curatorship itself. Rubin, the Iron Chancellor of MOMA, has set new standards of detail and historical cogency within the museum, and the Picasso exhibit and its admirable catalogue reflect them at every point...

Author: /time Magazine | Title: The Show of Shows | 5/26/1980 | See Source »

...Demoiselles, no cubism. But there was a long stretch between them while Picasso, grappling with late C??zanne, crossed from an art of paroxysm to one of exquisitely nuanced analysis. In a work like Bread and Fruit Dish on a Table, 1909, Picasso picked up on C??zanne's monumentality. Originally Picasso meant to paint a cabaret scene with figures at a table, in homage to C??zanne's Cardplayers, but the image mutated into still life, leaving the drinkers' legs fossilized, as it were, in the sloping table legs. The great brown half-moon of the tabletop, the bread...

Author: /time Magazine | Title: The Show of Shows | 5/26/1980 | See Source »

...with the look, but with the feel of flesh. In some ways, the shapes of Marie-Thérèse, smooth and closed, are like the totemic bone forms of Picasso's grotesque anatomies of the '30s, the projects for immense figure-based sculptures that he fantasized building along the C??te d'Azur. But their whole import is different. There is no dislocation or fear in them: they are, as William Blake put it, "the lineaments of gratified desire." The climate of sexual politics has changed so irreversibly in the past 50 years that one cannot imagine a painter trying...

Author: /time Magazine | Title: The Show of Shows | 5/26/1980 | See Source »

...right that this show should be held in London, since the word post-impressionism was invented there, and applied to the painting of the 1880s by Roger Fry, the English art critic, when he organized a sensationally vilified show of Manet, Van Gogh, Gauguin, Seurat, C??zanne and others at the Grafton Galleries in 1910. By then the painters that Fry's exhibition encircled were all dead, and his name for them was a last resort: he toyed with calling them "expressionists," luckily decided not to, and at last exclaimed, "Oh, let's just call them postimpressionists; at any rate...

Author: /time Magazine | Title: Art: Old Masters of the Modern | 1/14/1980 | See Source »

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