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...with his right arm paralyzed, Charles Sheeler is nearly beyond accolades. Like blueprints of a new aesthetic, his precision paintings were the reductio ad minutam of the machine age. He mixed the academicism of his teacher, William Merritt Chase, with the cubist masters, made a living as a photographer until his immaculate industrial visions caught on. He could refine the reality of a locomotive's monstrous driving wheels so that even when they are frozen in two dimensions, their tremendous momentum leaps...

Author: /time Magazine | Title: Art: The Old Precisionist | 1/29/1965 | See Source »

There is proof, too, at the Whitney show that older sculptors are still going strong. Lipchitz looks more curvy than cubist in his bronze Lesson of a Disaster, a tripod sprouting flames. Noguchi's smooth, pierced-granite Black Sun continues to exploit Oriental eclecticism in graceful abstraction. But the average age of the Whitney's choices is 43. Even younger sculptors are experimenting with new approaches to the object. Some may make sculpture from...

Author: /time Magazine | Title: Sculpture: Era of the Object | 12/11/1964 | See Source »

...gallery window, Murphy discovered the cubist masters. He took art lessons from Diaghilev's designer, Natalia Goncharova, who would not let him paint anything recognizably real. Then he began to follow his own bent, meticulously rendering real objects in a bright, orderly manner. His first painting, Razor, done in 1922, was a heraldic crossing of a safety razor and a fountain pen below a matchbox, backed up by angular cubist meanderings. Another painting, 6 ft. by 6 ft., showed giant watchworks. Portrait detailed Murphy's foot and its inky imprint, three true thumbprints, and a prototype profile...

Author: /time Magazine | Title: Artists: The Seven-Year Itch | 10/30/1964 | See Source »

Truth in Garbage. Rauschenberg has been called a neo-Dadaist, a belated abstract expressionist, a junk assemblagist, a pop artist, a hyper-cubist, even an anti-artist and, of course, a nut. "Great!" he says. "I like that. I'm only concerned when the critics stop changing their minds and get a fix on me." Getting a fix is hard because change is the essence of his experimentation. Yet at the heart of Rauschenberg's work is a clear conviction that a heightened order of truth can be found in everything and anywhere, even in the garbage dump...

Author: /time Magazine | Title: Painting: Most Happy Fella | 9/18/1964 | See Source »

MODEST CUIXART-Bonino, 7 West 57th. Spanish Painter Cuixart mixes his own concoction of materials, juxtaposes baroque designs with flesh-colored cubist construction. Sensuous red and black lines speak of darkness and calamity. Through...

Author: /time Magazine | Title: Art: Art in New York: may 8, 1964 | 5/8/1964 | See Source »

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