Word: objects
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Dates: during 1980-1989
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...Norman Lear (All in the Family, Mary Hartman): "A show becomes a big hit because it is dynamically different. But the networks are afraid of different. They want carbon-copy television." To the programming chiefs, says Washington Post TV Critic Tom Shales, "a new idea looks like a foreign object-it's something to run away from. So they clone whatever was successful elsewhere. Just watch: next year's surefire hit will be called Magnum E.T. They'll have a hairy guy with a mustache come in from outer space. Me, I'd rather watch...
...plan that might have broken the bargaining impasse. Nitze would have given up the Pershing II program altogether and had the U.S. deploy enough cruise missiles to offset a greatly reduced force of SS-20s in Europe The purely military rationale of the Pershing IIs had always been the object of debate and doubt. Their range would not permit them to reach Moscow, and the targets that they could hit in the western regions of the U.S.S.R. were also covered by American intercontinental and submarine-based missiles. Nitze was convinced that cutting the Gordian knot," as he put it last...
...forceful impressions of posture, gesture and attitude. Smith was not in the business of making large iron dolls, and it may be, as various critics have pointed out, that the usual verticality of his sculptures encourages one to read them too readily as effigies of the figure. The same object, horizontal, would not be seen as a recumbent personage or sentinel. But in the end, the body messages of Smith's sculpture do not depend on whether the pieces have "heads" or "legs," as quite a few of them do. They flow from the internal relationships of the forms...
Steel, as a sculptural material, is imperfectly expressive. It has never been fully able to suggest the pathetic. But it is a marvelous substance for embodying optimistic energy, the direct flow of feeling into untormented substance. All of Smith's best sculpture is an object lesson in what scale means, in the relationship between the sculptured object and the body of the viewer. And it was in his ability to create large steel equivalents for the sensations of the body, unclouded by apparent doubt or fear, that his monumentality as a sculptor...
...Robert Rauschenberg is back; but then, the rumors that he had gone away were greatly exaggerated. It is almost 30 years since his "combine" paintings-rebus-like assemblies of every imaginable waste object, from beach tar to stuffed chickens, from electric fans to auto tires, slathered in abstract expressionist paint drips-burst upon the American art world. Nearly two decades, a lifetime for some artists, have elapsed since his first prize at the Venice Biennale (back when the Biennale mattered) heralded the "imperial" entry of American art into Europe. The unwanted reward of a career like Rauschenberg...