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Another artist who seems to incorporate photographic principles is the Italian master draftsman. Alberto Giacometti. Giacometti's portraits appear layered; white lines contouring a head on a dark background seem to be a stack of negatives. Naum Gabo also emphasizes space, but he works with three-dimensional materials. By winding strings around transparent plastic, he defines an ellipsoid within a rectangular boundary. As Picasso took the viewer through space with uncanny juxtapositions of his subject's position. Gabo constructs his space by pulling us into the elliptical void as well as asking us to follow the contours formed...

Author: By Meredith A. Palmer, | Title: Some Pulitzers for the Fogg | 12/14/1971 | See Source »

Someone once asked the artist Giacometti if, were his studio on fire, he would first save his famous sculpture of a dog or a dog he kept as a pet. Giacometti said he would save the dog. Apparently, the majority of the Harvard Faculty would, in the same situation prefer to save the sculpture. For what the Faculty's failure to go out on strike with the students essentially means is that they would rather save University routine than join students in a full-time struggle against the systematic murder of Asians, black militants, and college students by our government...

Author: NO WRITER ATTRIBUTED | Title: On Strike Tower of Babel | 5/7/1970 | See Source »

...Angeles' Watts ghetto, but no one would ever know it from his works. He made his way via a scholarship and gumption to New York (where he made friends with Larry Rivers and Willem de Kooning) and Paris (where he met Riopelle and worked with Giacometti). Manhattan's prestigious French & Co. gallery gave him a show last month, where his slab-sided totems sold briskly for upwards of $3,500 apiece. As for being a black artist, he snaps: "Such questions are frivolous. They have nothing to do with the consciousness of people who attempt to make...

Author: /time Magazine | Title: Art: Object: Diversity | 4/6/1970 | See Source »

...burst of movement. In this confusion, the largest. simplest canvas dominates, a work by Morris Louis with streams of Acrylic color poured down each side and an area of gaping white in the middle. The eye must leap among the different rhythms in the room-from the fragility of Giacometti figure to the heavy rounded bronze body by Maillol. Among the modern things, a few seem as rare as the ancient discoveries. One tiny, unusual Picasso, done before his Cubist work, shows women crossing a square. He suggests the forms of the figures bending forward against the wind by smudges...

Author: By Cyntiha Saltzman, | Title: Boston Museum Centennial | 2/12/1970 | See Source »

Director Wilder grows ecstatic about his new acquisition. "I adore the originality of its shape," he says. "It isn't the old-fashioned Rubens couch; it's more like Giacometti." Eames agrees that the Chaise "is comfortable and works," but he has one reservation: "I'm sad that it's so miserably expensive. What's really discouraging is that its cost doesn't rule it out of the market." Indeed not. This fall, Manhattan's Herman Miller Inc. began taking orders for copies of the Eames-Wilder Chaise-at $636 apiece...

Author: /time Magazine | Title: Modern Living: The Anti-Casting Couch | 1/5/1970 | See Source »

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