Word: manhattan
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Dates: during 1950-1959
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...trapped by a mine cave-in. Five days later he digs his way back to the surface. "I made it!" he shouts in triumph, but nobody replies. The pit head is deserted. The town is deserted. The highways are deserted as the hero, panic-stricken, goes speeding off toward Manhattan, the nearest big city, in the first car he finds. At the Hudson River he is stopped short. The George Washington Bridge is jammed to the rails with abandoned automobiles, all arrested in a desperate plunge toward the suburbs of no return; the Lincoln Tunnel is the same...
...hero crosses to Manhattan in a rowboat with an outboard motor, wanders half insane with loneliness and terror through the enormous canceled city. "I'm alive!" he screams, "I'm alive!" But by this time he has lost all hope that anybody else is. He takes up residence in a pleasant apartment on lower Fifth Avenue, begins to make the best of his mournful immense inheritance of culture and convenience...
...Angeles-born Isamu Noguchi, 54, who travels at the drop of a toothbrush, is equally at home in New York, Paris and Tokyo, believes in using tools to finish the job and then, if necessary, abandoning them. Last week Noguchi came to rest long enough to put together, at Manhattan's Stable Gallery, his first major exhibition in eleven years-36 pieces ranging from iron forms forged in Japan to towering monoliths in the famous Pentelic marble of Greece. Almost too many influences are detectable in Noguchi's works, ranging from the rock gardens he knew...
Swedish granite originally designed for Manhattan's Lever House (the budget ran out) and a torchlike form in Greek marble, planned as a 30-ft, focal point for the International Arrivals building at Idlewild Airport (the New York Port Authority turned it down). Often, Noguchi complains, "architects want something that is timely. I want to get back to the real problem of sculpture and do something timeless...
...Manhattan gallery-hoppers found a refreshing change last week from the usual abstract-expressionist slatherings. Rome's Domenico Gnoli, an Old World newcomer of 26. exhibited a sheaf of big, clear-cut, conservative drawings at the Bianchini Gallery, found himself famed and in the money. What attracted critics and buyers alike was Gnoli's obvious mastery, modesty and calm. Though not the greatest virtues possible to art, these qualities are currently rare-and as delightful as cold water after a binge...