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...from Marcantonio Raimondi), but what infuriated the audience at the Salon des Refusés in 1863, and has caused so many gallons of ink to be spilled on it since, is its insolubility as narrative. An "uncouth riddle," one critic called it. What are those people doing? One modernist answer is that they are busy being in a painting. But, as Curator Cachin shows in her catalogue note's meticulous and witty unskeining of Déjeuner, there is far more to it than that...

Author: /time Magazine | Title: Art: The Most Parisian of Them All | 9/19/1983 | See Source »

...final question demanding attention is, of course, whether Harvard got a quality product. Sullivan waxes eloquent about the structure's "post-modernist statement." It uses, he adds, "traditional shapes and forms, putting them together in a much different way." Gund says, "The reason for some of the detail is to make it not look like a toll booth, not make it look utilitarian...

Author: By Jacob M. Schlesinger, | Title: Gatehousegate | 9/12/1983 | See Source »

...paintings consist of stick figures and linear signs, enacting parodies of myth, ritual and archaic language. They draw on a wide range of sources, from algebra to Dipylon vases, from set theory and scribbles on the Berlin Wall to American Indian petroglyphs. Like a lot of earlier modernist art, they quote the "primitive" forms out of all cultural context, stubbornly, like someone repeating a misunderstood spell...

Author: /time Magazine | Title: Art: German Expressionism Lives | 8/8/1983 | See Source »

...final question demanding attention is, of course whether Harvard got a quality product Sullivan waxes eloquent about the structure's "post-modernist statement." It uses he adds, "traditional shapes and forms, putting them together in a much different way," Gund says. "The reason for some of the detail is to make if not look like a a toll booth, not make it look utilitarian...

Author: By Jacob M. Schlesinger, | Title: Gatehousegate | 8/2/1983 | See Source »

Some of the 1,200 architects, film makers and graphic and industrial designers who assembled at Aspen are leaders in an emerging, spontaneous coalition of preservationists, ecologists and artisans who are making our cities more livable and human. Peter Blake, for example, wrote a much noted polemic against the modernist vision. Benjamin Thompson is the architect of Faneuil Hall and other festival markets. Israeli-born Canadian Architect Moshe Safdie is a pioneer in the search for a new architecture of humanism. "Out here in this wonderful countryside," Safdie said last week, "I don't feel that I want...

Author: /time Magazine | Title: Design: Whatever Became of the Future? | 6/27/1983 | See Source »

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