Word: hodgkins
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...largely unnoticed facts about current art is that despite the hoopla made over some national groups of painters-mainly German and Italian-a great deal of the most inventive and solid painting in the '80s keeps being done by the English. One thinks immediately of Frank Auerbach, Howard Hodgkin or half a dozen others. And among them, prominently, one thinks of Malcolm Morley. Morley is 52. His first retrospective-curated by Nicholas Serota, director of London's Whitechapel Art Gallery, and handsomely introduced by Art Historian Michael Compton-has spent the past year touring from Basel to London...
DIED. Henry S. Kaplan, 65, Stanford University radiologist and co-inventor of the first medical linear accelerator in the Western hemisphere, which became the cornerstone of modern radiation therapy and helped transform once fatal Hodgkin's disease, for example, into a relatively curable ailment; of lung cancer; in Palo Alto, Calif. In 1955 the Chicago-born Kaplan collaborated with Edward Ginzton in developing a 6-million-volt accelerator at the Stanford Medical Center, then in San Francisco. The device smashed atoms to produce high-dosage radiation that could be directed at various forms of cancer with much greater accuracy...
...helix structure of DNA. In 82 years of Nobel history, just six other women have won honors in scientific categories; and only two of these were named alone, without fellow honorees: France's Marie Curie in 1911, for discovering radium and polonium, and Britain's Dorothy Crowfoot Hodgkin in 1964, for deciphering the structure of penicillin and other compounds. McClintock is the first to win unshared honors in medicine and physiology. Said Watson, who has been director at Cold Spring Harbor and hence McClintock's boss for 15 years: "It is not a controversial award...
There is a strongly private, autobiographical element in Hodgkin's work; it refers to friendships one does not know about, to conversations in rooms long since quitted. But it resists transmission as anecdote. "The picture," Hodgkin says firmly, "is instead of what happened. We don't need to know the story; generally the story's trivial anyway. The more people want to know the story, the less they'll look at the picture." Likewise, the paintings are full of references to other art, usually of a rather arcane sort. But they seem casually, even inattentively deployed...
...such influences are melded into a wholly modernist idiom. Hodgkin does to the Indian miniature what Matisse did to Islamic decoration; the source is not simply quoted but transformed. The miniaturist's precision of edge and line is replaced by a fuzzy, affable kind of formal system-nursery-toy versions, almost, of the sphere, cube and cylinder, those intimidating Platonic solids of programmatic modernism. His pigment, however, has an extraordinary range of effect. His work sports in the transparency, density and sweet pastiness that only oil paint can give. Surfeited by color, twinkling with fields of dots (like enlarged...