Word: metropolitanism
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...beautiful draftsman, a brilliant watercolorist, a very fine painter. In his field, Wyeth is an outstanding figure." Many critics in the Manhattan art scene, however, find him stubbornly irrelevant. "Wyeth's philosophy is Poor Richard's Almanack," sniffs Henry Geldzahler, former curator of 20th century art at the Metropolitan Museum of Art. "His skies have no vapor trails, his people wear no wristwatches. He is the Williamsburg of American painting -- charming, especially when seen from a helicopter...
...political artist" as such, a political current --generally of a milky, liberal kind--surfaces in Rosenquist's work. It produced a number of bland icons but one real masterpiece as well: F-111, 1965, the 86-ft.-long, multipanel anti-Viet Nam mural that caused a hullabaloo when the Metropolitan Museum chose to exhibit it in the '60s. Unlike most political art of the time, it looks unpolemical at first, and that is the source of its power. It sums up Rosenquist's vision of America as an Eden compromised by its own violence. The impact of its neon colors...
Middlesex County Dist. Atty. L. Scott Harshbarger said one was the $1.5 million robbery of the Depositors Trust Co. of Medford in 1980. The two leaders named in the indictment, former Metropolitan Police Capt. Gerald W. Clemente and former Medford Police Lt. Thomas K. Doherty, are serving sentences for their involvement in that crime...
...opposite is the case with James Levine: The Life in Music, a portrait of the Metropolitan Opera's dynamic artistic director, scheduled to air in August. The tightly woven hour combines Levine's own reflections -- on choosing music as a career, his admiration for Toscanini -- with revealing views of him at work. Whether he is steering his orchestra through a demanding passage during rehearsal ("I need super concentration here . . . like you were driving in heavy traffic") or attending to business in his Lincoln Center office, every scene seems to define the man and command our respect...
...York run at the Metropolitan Opera House was mostly unsatisfactory, and a good part of the problem lies with Nureyev. The trouble began with his recension of Swan Lake, which was silly and eccentric and, worst of all, skewed to provide a fat role for the aging, painfully stiff company director. This version of the legend is not about the tragic love of the prince and the spellbound queen but about the prince's rebellion against his tutor, who doubles as the sorcerer Rothbart. The famous "black swan" pas de deux in the third act is now a murky...