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During the lecture, which was arranged by Marshall Goldman, associate director of the Russian Research Center, Gerasimov commented on the release of American journalist Nicholas S. Daniloff '56 and its impact on relations between the superpowers...

Author: By David J. Barron, | Title: Soviet Official Responds To Foreign Policy Attack | 10/2/1986 | See Source »

Brian Cann (19th place) was Harvard's second runner across the line, with Andy Mendelsohn (21st), Mike Curtis (22nd) and Seth Goldman (23rd) rounding out the Crimson scoring...

Author: By Richard L. Meyer, | Title: Harriers Stumble at Four-School Meet; Gompers Glides at Meeting of Minds | 9/22/1986 | See Source »

While high salaries are drawing the nation's best and brightest to the private sector, "talented people should work in the government for at least part of their careers," said John C. Whitehead who last year left his post as co-chairman of Goldman, Sachs and Co. for his current job as deputy secretary of state...

Author: By Laurie M. Grossman, | Title: The Top of the Pyramid | 9/7/1986 | See Source »

...whole. The huge fragmentary paintings of the '60s and '70s are imposing but not tactile; very big but oddly weightless, with none of the haptic intensity that is the gift of denser painting. They look hard to understand because they are easy to read. As Art Historian Judith Goldman points out in her recent book on Rosenquist, most of his images are not just culled, collage-wise, from advertising; they are shards of personal experience, of memories scaled up and colloquially scrambled. Nevertheless there was a certain tone of image that Rosenquist sought. He did not want to paint...

Author: /time Magazine | Title: Art: Memories Scaled and Scrambled | 8/11/1986 | See Source »

...also suggested surrealism, and to a degree that Goldman perhaps underrates. Early Rosenquists from 1962--like Noon, Capillary Action or Untitled (Blue Sky), with their small canvases that hover clear of the surface while still carrying the sky or grass of the background--quote Magritte with an almost naive directness. True, Rosenquist could not be less interested in the literary and sexual side of surrealism, but the way disconnected images have always floated together in his work (the duck's head, tire tread and huge cropped face in Silver Skies, 1962; the immense rashers of bacon, their fat glistening among...

Author: /time Magazine | Title: Art: Memories Scaled and Scrambled | 8/11/1986 | See Source »

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