Word: namee
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Dates: during 1960-1969
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...join in the protest. I protest in the name of those who have given their lives in vain. In the name of those who believe all men have the right to self-determination, in the name of those who believe that no man is free until all men are free...
...notion that a TIME SPORT cover is a jinx dates back to the 1930s-possibly to the day in 1936 when a spectacular rookie named Joe DiMaggio went 0 for 5 at the plate and flubbed two easy chances in the field just as his portrait appeared on TIME'S cover. Long-memoried readers sometimes remind us that Leo Durocher's year-long banishment from baseball started with his cover in April 1947, that Golfer Ben Hogan lost the Los Angeles Open the week of his cover in 1949 and that undefeated Navy was stunningly upset by S.M.U...
...infinite, was impressive. Mark Rothko reduced his palette to the softest shades and his compositions to a pair of rectangles in tandem. That commanding teacher Hans Hofmann preached what he called the "push-pull" theory of colors in tension-and practiced it to perfection. De Kooning restored the name of action to artistic thought, slashing at his canvases with inspired passion. David Smith took the grand gesture to sculpture, mounting one stainless steel shaft upon another in marvels of cliff-hanger balance. Later artists like Ellsworth Kelly, Kenneth Noland and Frank Stella solidified and emboldened color and clipped its ragged...
Inevitable Reactions. By the 1950s, Abstract Expressionism was the new academicism. A million haphazard abstractions splashed from the hands of virtually every art student able to clasp a brush or wield a tube of paint. A reaction was inevitable, though no one dreamed its name would be Pop, its inspiration advertising and comic strips. To many, the antidote was distinctly more unpleasant than the malady. But there were moments of high humor and certainly social awareness. A rich, fat and powerful consumer society was rich, fat and powerful enough to accept its own image, no matter how ugly it turned...
...than others. But to make non-directing an asset is extremely difficult. It demands not only a strong intuitive sense of the potentials of the actors, but also a clear abstract idea of what is wanted from them. Many established directors-Godard, Bunuel, Bresson-feel at a disadvantage using name actors, since they tend to have preconceived ideas of what they are supposed to do and therefore lack spontancity and authenticity...