Word: corcorans
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Dates: during 1950-1959
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After the balanced sanity and insight of TIME'S survey of American painting [Dec. 24], the majority of prizewinners in the Chicago and Corcoran exhibits [Jan. 21] seem like the feckless choices of a madman. James Brooks's R-1953, which resembles nothing more than an imperfectly stained laboratory slide, cannot be interpreted as anything but a refined experiment in egomania. Lipton's The Cloak, even as a theme, could be more feelingly rendered by any class of fifth-graders. Glarner's Relational Painting Number 79 should be considered as an expression of pure design...
Cleveland's Dr. Arthur C. Corcoran checked stroke victims' blood pressure, found that abnormally high pressure predisposes a person to strokes, especially of the hemorrhagic type. In such cases it would be dangerous to use anticoagulant drugs (because of the risk of further hemorrhage); the Cleveland Clinic researchers have found that they could lower the blood pressure with hypotensive drugs, arid later use anticoagulants safely to minimize the risk of subsequent strokes...
...famed 1913 Armory Show plunged the U.S. headlong into modern art. Davidson's counsel was still being pondered this week as museum doors opened on the two biggest prize-giving events of the year. Washington's 25th Biennial Exhibition of Contemporary American Oil Paintings at the Corcoran Gallery of Art and the Art Institute of Chicago's 62nd American Exhibition of Painting and Sculpture, which together announced awards totaling $12.200. Between them, the two shows constituted a study of contemporary U.S. painting and sculpture, and supplied this year's answers to the perennial question...
...Washington the more conservative Corcoran jury, made up of Corcoran Director Hermann Warner Williams Jr., Metropolitan Museum Curator of Paintings Theodore Rousseau Jr. and Philadelphia Museum Painting Curator Henry Clifford, took three days to weed through 1,643 submitted paintings. Then they underlined by their choices the two trends they felt most evident in the heavily abstract field: i) a move toward more recognizable subject matter, and 2) a surprising strength in oldtime geometric abstractions. Loren Maclver's softly luminous The Street (see next spread), which carried off first honors, was called by one juror "very, very sensitive...
Sobering afterthoughts were two other exhibitions staged by the Corcoran. In one salon were hung 24 past winners, ranging from little-known Willard L. Metcalf's moonlit May Night to John Hult-berg's Yellow Sky (TIME, May 2, 1955), and including Childe Hassam, George Bellows and Edward Hopper. Across the hall was a first-rate collection made up of nothing but onetime nonwinners: Albert Pinkham Ryder, Mary Cassatt, Winslow Homer, Thomas Eakins, John Sloan, Marsden Hartley and John Marin. Said Corcoran Director Williams: "We know from the statistics of previous shows that only three or four...