Word: laing
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Dates: during 1960-1969
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...replied: "Most people use the name Mr. Mayor." So began the first of a weekly series of appearances by Carl Stokes, the first elected Negro head of a major U.S. city and the most winning on-air mayor for the kids since New York City's Fiorello La Guardia read the comics...
Among the new record breakers: Paul Klee's 1936 Südische Garten, formerly owned by Architect Mies van der Rohe, which went for $86,400; and Jean Dubuffet's 1947 Il Flúte sur la Basse, which brought $48,000. Highest bid was $300,000 for Picasso's oval-shaped 1912 cubist painting La Pointe de la Cite. Second most expensive picture was Georges Braque's Homage à J. S. Bach from the same period, which was bought for $276,000 by Manhattan Dealer Sidney Janis, who last January gave his first...
...Impressions, which uses Paul Klee paintings as "points of departure" for seven vignettes (set to music by American Composer Gunther Schuller) that capture both the painter's economy and his wit. There is sexy balletic humor in a spoof of Arab amour that features sinuous ballerina Willy de la Bije as the most languid odalisque ever to scratch herself where it itches. Most ambitious American entry is Glen Tetley's The Anatomy Lesson, which takes as its starting point Rembrandt's famous painting of the white-ruffed, black-hatted surgeons of Amsterdam, solemnly posed around the dissecting...
...La Chinoise, the title is a sardonic reference to a girl (Anne Wiazemski, the second Mme. Godard) who fancies herself a China doll. Godard pokes fun at her windy braggadocio and her comrades' pompous planning with numberless nose-thumbing cinematic tricks. Players step out of their roles to tell the camera their biographies. Scenes are interspersed with stills of Alice in Wonderland, pictures of Stalin, shots of comic strips. The director's off-camera voice constantly interrogates his performers, who stop acting to reply. Visually, La Chinoise is almost entirely successful. The rapid shifting of subject matter...
Unfortunately, Godard this time has squandered his prodigious technique on a feeble fable about a one-dimensional collection of bourgeois undergraduates who appear to be trying on Red to see if it flatters their complexions. In the end, nothing about La Chinoise can be taken seriously-neither the mock-revolutionaries, who cannot commit a terrorist act without knocking off the wrong man, nor Godard, who fails as a satirist because his preening pupils, full of the pop and pap of the New left, are already a satire on themselves. Despite sonorous allusions to such major artists as Brecht, Goethe...