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...Arts and Crafts at 175 Newbury is currently exhibiting pottery by Gerry Williams. Besides doing lovely examples of clay bowls and vases. Williams exhibits some of his humorous pieces about American history. One such work, "Watergate", deserves special mention here. The clay piece looks like a typical Washington D.C. monument, but the figures enshrined on the top bear vague resemblance to the heros of Watergate. Nixon stands in the middle holding a serpent and he has one foot on a crocodile. The roughly scrawled inscription on the base of the monument reads, "Get Back! Watergaters, crocodiles and dangergous fish-enemies...

Author: By Amy B. Mcintosh, | Title: GALLERIES | 4/21/1977 | See Source »

...Boston." "The Christian Science Center is a combination of pompousass architecture and corporate necessity," snaps Pollack, an architect at Professional Designs Incorporated. The Christian Science Church and its world headquarters, Boston's answer to the Vatican, focus the contradiction between collective needs and private purpose: a corporate monument rising symbolically above the decaying tenements of the poor and turning its back on the human needs of urban working people unable to buy a decent human environment. Pollock is an architect who must deal with contradictions like that--his firm is employed by E.F. Hutton and Company, the second largest stock...

Author: By Michael Barber, | Title: Boston's New Brutalism | 4/15/1977 | See Source »

...situation polarizes at two extremes: private industry either lavishes millions on its monuments or builds stark architecture of an economic functionality lacking social or aesthetic merit. The practice of monument construction is best expressed in the new Federal Reserve Building, by Hugh Stubbins and Associates, which follows the Hancock and Prudential buildings in its indulgence in the grander, sleeker, more-conspicuous-and-powerful syndrome. "You don't seem to understand," one corporate executive notes. "We make money." For such companies cost is no object...

Author: By Michael Barber, | Title: Boston's New Brutalism | 4/15/1977 | See Source »

...golfer of his era when he won the U.S. amateur in 1930 in the final leg of the incomparable "Grand Slam". After beating Gene Homans nine and seven for that fifth amateur title, Jones went into retirement and began to envision a golf course that would serve as a monument to his philosophy of the game. Jones wanted his club to be a truly national one, where "men of means might play with kindred spirits...

Author: By Robert Sidorsky, | Title: Bobby Jones And The Ghost of Masters Past | 4/13/1977 | See Source »

...link between "revolutionary" art and revolutionary politics in Russia was closer than it has ever been in the West. The idealist abstract order of works like Lissitzky's Proun, 1919, was deeply connected to social visions of Utopia: when Tallin designed his extraordinary spiral tower as a monument of the revolulion, there was no doubt in his mind thai the appropriate language for radical politics was radical design. The energy of that period ran through the entire fabric of the Russian avantgarde, from Mayakovsky's poetry to Eisensiein's films, with their complex rhythms and shuttling montages...

Author: /time Magazine | Title: Art: Momentous Happening in Moscow | 4/11/1977 | See Source »

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