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Then in 1967 the Academy appointed a 37-year-old former dancer and fund raiser named Harvey Lichtenstein as its new executive director. Lichtenstein turned out to be one of the best things to happen to Brooklyn since the Dodgers won the World Series. Armed with a $300,000 Ford Foundation grant to stimulate modern dance, Lichtenstein concentrated in his first three years on lining up topflight contemporary dance groups who could not afford Manhattan production prices. He organized regular appearances by more than a dozen companies, including the American Ballet Theater, the Merce Cunningham Dance Company, Martha Graham, Alwin...

Author: /time Magazine | Title: Show Business: Rebirth in Brooklyn | 1/14/1974 | See Source »

...collapsed into one another. It was inevitably Mickey who made Stokowski more of a star by the handshake, not the other way round. The gesture made Pop art possible and, after a gestation of nearly 20 years, it duly arrived in a flurry of mice: Roy Lichtenstein is said to have happened on his comic-strip idiom after his son asked him to prove he was a real artist by drawing a Mickey. Claes Oldenburg-whose obsessive and imperious fantasy about turning the whole environment into one Oldenburg is the closest thing high art has to what Disney World achieves...

Author: /time Magazine | Title: Time Essay: Disney: Mousebrow to Highbrow | 10/15/1973 | See Source »

...appropriate, for Wyeth, at 56, is one of America's most durable institutions. The audience for advanced art is, as Roy Lichtenstein once wryly observed, about as big as the audience for advanced chemistry. Wyeth's audience, however, runs into the millions. His infrequent exhibitions -the most recent of which is a retrospective organized by Art Historian Wanda M. Corn at the De Young Museum in San Francisco-jam the galleries with visitors; in the U.S. only Picasso can pull more crowds than Wyeth. The price of a Wyeth watercolor begins at about $20,000, and his minutely...

Author: /time Magazine | Title: Art: Fact as Poetry | 9/3/1973 | See Source »

...even rules. And it is a futile effort that searches for them. Ambiguity is all you will get out of this art scene. The artist is marketing wiseguyness (Warhol makes a six-hour movie of a man sleeping and distributes it as fast as his factories can manufacture it; Lichtenstein can't get off his punch line. "It seemed impossible to print something somebody wouldn't hang. Everybody was hanging everything"). The critic lacks an objective basis of taste; the artist refuses form, having already abandoned content; you get lost in the Whitney funhouse...

Author: By Emily Fisher, | Title: Lost in the Whitney Funhouse | 7/27/1973 | See Source »

...sure, the New Jewelers, who number among their loose-knit ranks such artists as Painter Roy Lichtenstein and Sculptors Pol Bury and Barbara Chase-Riboud, are also capable of work that crosses the thin borderline between mere decoration and art. Some pieces, such as Phyllis Mark's kinetic pendants, which suspend shimmering abstract forms within silver ovals, are even sold with stands so that they can be displayed as glittering tabletop art. Other works, like the slablike silver and Lucite pendant by Denver Sculptor Barbara Locketz, need no prop...

Author: /time Magazine | Title: Modern Living: Jewelry: Back to Design | 12/18/1972 | See Source »

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