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...Family Values) stirred up a refreshing appraisal of the iconic appeal of Marilyn Monroe, focusing on the legacy of her celluloid image instead of the tabloid conspiracies that crowd her persona. The jazz singer Diane Schuur made poignant connections between her own blindness and that of Helen Keller. Rita Dove, America's former poet laureate, produced a tightly woven mini-epic in prose of the moment of Rosa Parks' apotheosis from unprepossessing Montgomery, Ala., matron to unshakable icon of the civil rights movement. Collaborating with staff writer Romesh Ratnesar, Fang explained the symbiotic nature of physics and political dissent that...

Author: /time Magazine | Title: When The Writer Is The Hero | 6/14/1999 | See Source »

...there, the time right inside a place so wrong it was ready. --From "Rosa," in On the Bus with Rosa Parks by Rita Dove...

Author: /time Magazine | Title: The Torchbearer ROSA PARKS | 6/14/1999 | See Source »

...anyone keep it up?), but it has a slightly weird consequence for this show. The older works--the ones from the teens, '20s and '30s--look fresher than the younger ones. We are used to seeing endless reproductions of de Kooning, Pollock, Rothko--but not of Elie Nadelman, Arthur Dove or Joseph Stella. Because of this contrast, the top two floors of the show--it starts at the top and, taking advantage of gravity, goes downward--seem more interesting than the third. That's not the art's fault, but it goes a long way toward fixing the imbalance...

Author: /time Magazine | Title: Art: A Nation's Self-Image | 5/10/1999 | See Source »

...equals, in their field, of great black writers like Langston Hughes. Nor does it indulge in the kind of sentimental feminism that would have you believe that Georgia O'Keeffe, say, was a sacrosanct culture heroine and as good a painter as others in the Stieglitz circle, such as Dove or Hartley...

Author: /time Magazine | Title: Art: A Nation's Self-Image | 5/10/1999 | See Source »

...transcendental. The cluster of feelings surrounding American landscape had come directly into modern art from 19th century images of sacred wilderness--God's fingerprint, there in the Catskills or the Grand Canyon. This would be faithfully preserved by photographers, like Ansel Adams at Yosemite. But 20th century painters from Dove and Hartley through Pollock conveyed them into more modern idioms, often with great power and poignancy. Landscape, in fact, was the matrix in which most of the impulses of American abstract art, except for its weaker strand of purist geometry, unfolded. In no other country except England and Australia...

Author: /time Magazine | Title: Art: A Nation's Self-Image | 5/10/1999 | See Source »

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