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...Senators-the SALT II accord had become a hostage to the Soviet troops controversy. Complained a top White House official: "It's this horrible hulk that threatens SALT II. It's demoralizing." Not only has the dispute given SALT's opponents a chance to depict the Kremlin as an untrustworthy treaty partner, but the controversy has seriously damaged the effectiveness of one of SALT's most important backers, Senator Frank Church...

Author: /time Magazine | Title: Nation: Search for a Way Out | 10/8/1979 | See Source »

...AUTHOR of The Rivalry had tried to depict the personal relationship of Lincoln and Douglas in his dialogue, the play might have more interest. Unfortunately, the dialogue fails to explore the characters of the two men, relying on texts of the debates to do so. As a result, The Rivalry remains nothing more than a tired rehash of textbook history. Abe Lincoln deserves better...

Author: By Amy R. Gutman, | Title: Rivalling the Worst | 10/6/1979 | See Source »

...brush drawings and etchings from life for eight years. In his paintings since 1973, that hunger is palpable, and it takes nothing for granted. "To paint from life at this point of time," he argues, "demands both the transgression and the inclusion of doubt." Transgression, because any effort to depict something is a shot at certainty; inclusion, because the central paradox of realism is that representation can never be completed. There is always a level of detail below which paint cannot go. What makes the realist painting is not complete illusion, but intensity; and there is no in tensity without...

Author: /time Magazine | Title: Art: Arikha's Elliptical Intensity | 7/30/1979 | See Source »

...girders and glass-with dialectics The idea of a necessary link between the nature of modern art and the aims of socialism was everywhere. "Each part of a futurist picture," Natan Altman argued, "acquires meaning only through the interaction of all the other parts"; its task was not to depict, but to explain dialectical relationships. Illegible in themselves, the fragments of form live "a collective life," like the faces in "a proletarian procession...

Author: /time Magazine | Title: Art: Futurism's Farthest Frontier | 7/9/1979 | See Source »

...life, the way John Wayne or Clint Eastwood movies do. You can't rehabilitate the alien or the zombies in Dawn-- you've got to blow them away. You don't have to blow away Vietnamese and have your audiences cheering it--unless, as in The Deer Hunter, you depict them as bloodthirsty aliens, which is a lie. (If anything, the Americans should have been depicted as aliens.) Nor do you have to blow away "social deviants" whose problems are considerably more complex than mere "badness". Horror movies are genuinely cathartic--they are not meant to be taken with...

Author: By David B. Edelstein, | Title: The Beast in All of Us | 7/3/1979 | See Source »

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