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...athletes. Tales of under-the-table payments and inducements?a new car or postschool job?have begun to circulate. The A.I.A.W. has no full-time enforcement unit to oversee violations, subscribing instead to the credo that conscience is more powerful than compulsion. "We are built upon self-policing," says Joan Hult, head of the A.I.A.W.'S Ethics and Eligibility Committee...

Author: /time Magazine | Title: Comes the Revolution | 6/26/1978 | See Source »

...then left. But it was a bitch to move. The whole transfer process was run by one woman. The only way to move someplace good was to pull strings by talking to someone inside the House, like a tutor, and having him put in a good word for you", Joan D. Channick '78 said...

Author: By Susan K. Brown and Joshua I. Goldhaber, S | Title: With Six, You Get Eggrolls: Fox Packs Them In | 6/8/1978 | See Source »

...that problem. The Quad has to be integrated into the University. Rather than the Fox Plan, more classes should be help up at the Quad, and any future College building should take place there so that it become a part of the lives of all the people at Harvard," Joan D. Channick '78 of Leverett House says...

Author: By Susan K. Brown and Joshua I. Goldhaber, S | Title: With Six, You Get Eggrolls: Fox Packs Them In | 6/8/1978 | See Source »

...Joan Miro, even today, reflects the cultural confusion in which Surrealism had its roots. At the Rolly-Michaux gallery in Boston aquatints and lithographs of Miro's, mainly from the last ten years, are on exhibit. These works, despite their optimistically bright colors, their fantasy and their wit, despite the simplicity of the cut-out shapes that compose many of the pictures, express many of the original ideas that animated the Surrealist movement. There is a delight in the absurd and the childish here but, at the same time, you feel almost as if the artist was playing a rather...

Author: By Diana R. Laing, | Title: A Surrealist's Metamorphosis | 6/5/1978 | See Source »

Walking away from these works you may feel that the look of Joan Miro's art has radically changed from his early work. Yet, without becoming stale, the motives behind it are still somewhat the same. As Miro wrote in 1939, describing his early struggles for recognition, he has constantly striven, whatever medium he uses, "To try and go further than easel painting... to try to go as far as possible and through painting to get closer to the people who are never out of my mind...

Author: By Diana R. Laing, | Title: A Surrealist's Metamorphosis | 6/5/1978 | See Source »

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