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...High School for the Performing Arts tells the freshman class they will need three things to make it: a strong technique, a good agent, and a thick skin. By the time graduation rolls around, the oncenaive wunderkinder have developed the latter. At its center, Fame is really a monument to modern-day egoism. What has the Me Generation wrought at PA? A bunch of conceited, albeit talented, immortality-seekers who think of nothing but themselves...

Author: NO WRITER ATTRIBUTED | Title: Bursting in Air | 7/4/1980 | See Source »

...toured the atomic ruins, she writes, while his "imagination stalked ahead, aghast, among sight soon to be outdone." Shedding light on the bizarre truth of our inner, irrational metaphors, she presents this vision of a city unnaturally demolished to expose the contours of the earth, leaving only "a single monument, defabricated girders of an abolished dome, presiding like a vacant cranium or a hollowing out of the great globe itself: Saint Peter's in some eternal city of nightmare...

Author: By F. MARK Muro, | Title: Passengers in Transit | 5/8/1980 | See Source »

Morgan's volume forms a monument to Maugham--its size testifies to the complexity of the subject and the exceptionally active life he led. Yet Morgan does not attempt to deify the writer, revealing not the successful, exciting, respected literary profile Maugham wished to project, but the often caustic, seldom genuinely charming man, obsessed with his literary shortcomings--he considered himself a failure for not winning a Nobel Prize--and haunted by his own homosexuality and his fear of public exposure. Born during the reign of Queen Victoria, he clung to Edwardian values of keeping up appearances; he had many...

Author: By Sarah L. Mcvity, | Title: Maugham's Mirror Tricks | 4/15/1980 | See Source »

...Swanson Monument, Colo...

Author: /time Magazine | Title: Letters, Apr. 14, 1980 | 4/14/1980 | See Source »

...Pavia called the Re-gisole (long since destroyed) and the San Marco group. Almost all the major artists of the Renaissance, from Pisanello in the 15th century to Giambologna in the 16th, consulted the Venice horses; when Leonardo da Vinci was faced with the problem of designing a horseback monument to the Milanese warrior Gian Giacomo Trivulzio, he took them as his starting point, varying their massive poses and calm, advancing gait in numerous drawings, five exquisite examples of which are in the Met show. Only when the 17th century-under the influence of Rubens and Bernini-demanded more intricate...

Author: /time Magazine | Title: Art: Thoroughbreds from Venice | 3/10/1980 | See Source »

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