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...Rice, a hard-living New Yorker who died in 1964 at the age of 29 while shooting a film in Mexico, made the most affecting movie that the new cinema has turned out to date: The Flower Thief. Certainly a vagrant, possibly an imbecile, the film's hero wanders the streets of San Francisco by day, a grown man pulling a little wagon that carries his Teddy bear. At night he goes back to the abandoned factory where a gang of derelicts chases him through the cellars with a terrible silent intensity. As interpreted with a marvelous simplicity...

Author: /time Magazine | Title: Cinema: Art of Light & Lunacy: The New Underground Films | 2/17/1967 | See Source »

Gates of Marriage. Beauty has no important place in Tony Smith's hierarchy of esthetic values. Amaryllis was so named because the top-heavy form made by connecting octahedrons and tetrahedrons reminded him of the bulbous coarseness of what he considers an "almost obscene flower." Willie, a spiky, tilted, angular beast with three legs and no head, was meant to be "an ugly, hostile thing slithering around on the floor"; it was titled by a fellow sculptor in honor of the groveling husband in Samuel Beckett's play Happy Days. Not all of Smith's imagery...

Author: /time Magazine | Title: Sculpture: Presences in the Park | 2/10/1967 | See Source »

...construct one now is to construct an artificial flower...

Author: /time Magazine | Title: Cinema: O Attic Shapes! | 1/20/1967 | See Source »

...wind is half the flower Because it is in the flower...

Author: /time Magazine | Title: Books: I Love You, World | 1/6/1967 | See Source »

...white flower is in the clouds...

Author: /time Magazine | Title: Books: I Love You, World | 1/6/1967 | See Source »

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