Word: calders
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Dates: during 1960-1969
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Black appealed to London Magistrate Leo Gradwell, whose Marlborough Street court has jurisdiction over the Soho restaurant district and the offices of Exit's British publishers, Calder & Boyars. Black charged the publishers with violating the 1959 Obscene Publications Act by having "obscene articles in their possession for publication for gain." For his part, the magistrate cooperated by issuing a search warrant. The police seized three copies from the publishers and the prosecution was on -with no jury trial...
...including three years at the exclusive boys' school, Groton. In World War II, the Army Air Corps put Sergeant Rickey to teaching the use and maintenance of remote-controlled gun turrets in B-29 bombers. Surrounded by servos and selsyns, he made his first moving sculpture. Unlike Alexander Calder's mobiles, which evoke stems and leaves, Rickey's relate to wheels and other mechanical forms. The influence of the constructivists* on him has been strong...
...built this chapel to atone for 80 years of sins," says Foujita. He certainly gave himself opportunities to accumulate them. Descendant of a warlike samurai family, the Foujiwara (meaning "wild fields of wisteria"), the painter hobnobbed with Picasso, Apollinaire, Isadora Duncan and the catlike artists' model Kiki. Alexander Calder once exhibited his miniature circus at Foujita's soirees...
While Alexander Calder early became a world figure by giving movement to sculpture with his mobiles, and Jacques Lipchitz developed his own tragic vision in the New World while still using traditional casting techniques, David Smith seemed to gain strength from wrestling directly with the raw materials of the steel age. His own work, Smith insisted, should be viewed both with the eye of a poet and of a workman, and he was proud that he had mastered his craft. A dropout from Ohio University after his freshman year, Smith studied art under John Sloan in New York...
...prizes have sometimes been awarded as a result of flackery, they are often rewards for achievement in new fields of art. In 1964, for the second time in the Biennale's history, the U.S. won the top international prize, for the litter-ish paintings of Robert Rauschenberg (Alexander Calder's sculpture won in 1952). This year, despite a powerful push behind the U.S.'s pop-eyed Roy Lichtenstein, whose work has evolved from hyperintense comic-book panels, the grand international prize in painting went to a relatively unknown kinetic artist from Argentina, Julio Le Pare...