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...career took its essential form. If Gropius was the founding father, Moholy was the radical activist who translated idea into experiment. His assignment was the metal workshop, but by no means did he confine himself to metals. Murals, photography, films, ballet and stage designs, light and color, typography and layout all commanded his attention. He experimented with plastics in a day when they were considered a poor substitute for genuine materials, painted on aluminum, created complicated "light-space modulators" (see color opposite) that anticipated the light and kinetic sculptures of the 1960s. One day he ordered three geometric paintings from...

Author: /time Magazine | Title: Art: Original in a White Coat | 7/18/1969 | See Source »

...turned his color into an asset. His agency now bills an estimated $1.5 million a year from accounts that include Kent, Newport and True cigarettes, Wayne-Gossard Corp. and the Joe Louis Milk Co. His ads are characterized by what he calls "a pride in being black." One magazine layout for Afro-Sheen, a hair preparation that is supposed to enhance the natural, curly look, carries the headline: "A beautiful new product for a beautiful new people." That is quite a change from the wording of older ads for cosmetics intended to bleach skin and straighten hair...

Author: /time Magazine | Title: Advertising: The Black Man In the Gray Flannel Suit | 6/27/1969 | See Source »

...publishing business, but one fact seems tantalizingly obvious: there are millions of potential readers for publications aimed at the 18-to-25 age bracket. But how to reach them? One method is to hire professionals to turn out smooth articles in hip lingo in a psychedelic or Art Nouveau layout ("Talking to kids in their own language," it's called). Cheetah and Eye magazines tried that - and folded...

Author: /time Magazine | Title: Periodicals: Rolling Stone's Rock World | 4/25/1969 | See Source »

Formerly a photographer for Réaltiés and Paris Match, Madame Demy has an unerring instinct for the stylishly avantgarde. She photographed Les Créatures as if it were a Vogue layout, and edited it elliptically. She even tinted the fantasy scenes to avoid confusion: red for those influenced by the mad engineer at his game board, a benign pink for the writer-hero. The trouble is that she seems to take the hero's fantasy as seriously as he does. As in her other films (Cleo from 5 to 7, Le Bonheur), she mistakes pulp...

Author: /time Magazine | Title: Cinema: . . . And Hers | 3/14/1969 | See Source »

...really very pretty; in fact, it's just about as ugly as it ever was. The layout still looks as though it was put together by a scissors-and-paste-stick-weilding third-grader only moments before it was rushed to the photo-offset man. And the attempts at profound symbolism on the cover fall as flat as ever. But now it's functional, and that's all that matters...

Author: By Jerald R. Gerst, | Title: Something Happened | 3/5/1969 | See Source »

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