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Eyes on the Prize is indispensable not just for its lucid treatment of the milestones of the era but for its keen eye on less noted events. A tense encounter between a band of demonstrators and a deputy sheriff on the streets of Selma, for example, turns into an impromptu "debate" between people from different planets: "Do you believe in equal justice?" "I don't believe in equal nothin'!" The narration by Julian Bond is admirably restrained, and - those interviewed (from such movement leaders as John Lewis and Stokely Carmichael to old foes like Alabama Sheriff Jim Clark) look back...

Author: /time Magazine | Title: Images Of Glory | 1/19/1987 | See Source »

Anyone who reads has toured parts of this fun house before. Budd Schulberg and Nathanael West spurned it in novels. Elderly actresses and directors have told gaudy lies to their tape recorders. What Author Otto Friedrich contributes in City of Nets (Harper & Row; 512 pages; $25) is a lucid, darkly funny recounting that threads the loopy stories and the titanic egos into a coherent narrative. Friedrich, a TIME senior writer, clearly cherishes the surreal nuttiness of Hollywood's great days...

Author: /time Magazine | Title: Show Business: Tales Of | 1/5/1987 | See Source »

...field near the asylum, the olive grove outside it, the pines in the asylum garden -- had an apotropaic use for him, keeping at bay the demons of the unconscious. He wrote incessantly; his letters from the asylum, unmarred by a single note of self-pity, are among the most lucid and heartbreakingly frank disclosures ever written by a painter. He categorized and cataloged his work, a habit for which art historians, wishing Cezanne had done the same, have long been grateful. And in October 1889 he summed up the relation between his paintings and his illness in one piercing metaphor...

Author: /time Magazine | Title: Art: Sanity Defense for a Genius | 12/1/1986 | See Source »

...slice of viridian turn into a lemon or a leaf, bathed in sunlit air. Sixty years have done little to blunt the impact of the flat-out chromatic intensity of some Matisses from the 1920s, like Anemones in an Earthenware Vase, 1924. The structure of the painting is as lucid as a theorem, with its pattern of rectangular hangings, panels and tabletop and the surging diagonal of the flowers in the vase, but the color -- pinks, carmines, chromes, lilacs and an orange that glows like a red-hot cannonball laid casually on the table -- would be disorienting if the strict...

Author: /time Magazine | Title: Art: Inventing a Sensory Utopia | 11/17/1986 | See Source »

...work has become coherent and confident again, partly by means of a lightly worn classicism. For the Zueblin construction company's new headquarters outside Stuttgart, he has produced an improbable but marvelous synthesis. A kind of oversize trompe l'oeil portcullis, Zueblin House is monumental and yet entirely permeable, lucid but not glib. The clear, simple axes and pitched-roof profile are classical, and the expansive ectoskeletal shed seems snatched from some 19th century dream of the 20th. The building's priapic pivot alludes to Bohm's own pioneering work: the central spiraling stair could be an ancestor or descendant...

Author: /time Magazine | Title: Design: Basso Profundo and a Bit Wild ! | 4/28/1986 | See Source »

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