Word: colossi
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...fine shape. Those who doubt this might consult the current retrospective of the fluent, tantalizingly mysterious work of Jennifer Bartlett, 44, at the Walker Art Center in Minneapolis. One might also adduce the small, concentrated paintings of Mark Innerst, 28, which inject photo-derived images of Great Tourist Views (colossi of Memnon in Egypt, the Hudson River landscape of the 19th century) with a remarkable feel for the subtleties of atmosphere...
...powered American businessmen, met with Soviet leaders in Moscow. That was in 1978, before crises in Afghanistan and Poland chilled East-West relations and put an end to the group's Moscow trips. But last week the eight-year-old organization, whose 210-member roster includes such capitalist colossi as Xerox Corp. and RCA Corp., revealed that it is heading back on another trade-promotion trip Nov. 16. Says Michael Forrestal, a past council president: "U.S. executives generally feel that it is wise for the two largest industrial countries to maintain trade relations...
Such are the personal touches and discreet comforts of a well-managed small hotel. Establishments like these have flourished for years in Europe, while in the U.S., land of computer-run colossi built for a badge-and-bottle clientele and crammed with more than 2,000 rooms, the list of truly first-class, intimate hotels has long been woefully short...
Thrones and Colossi. To move from the grand volumes and rhythmical, steely incision of these Tlingit house posts and Eskimo masks into the world of American neoclassical sculpture is to shift to provincialism. It is also to descend from necessity into sentiment, and, in a sense, from confidence into anxiety. Compared with the pressure of ritual meaning in the best Indian art, the search for a language of classical form and Roman gravitas conducted by the professionals who rose to commemorate the American ideal after the Revolution-Horatio Greenough, Hiram Powers and Thomas Crawford-looks curiously wistful. Hiram Powers...
...main direction of U.S. sculpture, throughout the 19th century and well into the 20th, was official and public. In a catalogue section titled Statues to Sculpture: 1890-1930, Art Historian Daniel Robbins gives a fascinating account of the plaster colossi produced by the cohabitation of raw new capital, laissez-faire idealism and academic talent. He also shows how the desire for emblematic icons of American history- realized by such grand-scale performers of the period as Augustus Saint-Gaudens-eventually made an accommodation with modern style through art deco. In the studios of beaux-arts figures like Saint-Gaudens...