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...collection is literally dreamed up by a young scholar vacationing in California. One night Anthony Maloney falls asleep in an obscure motel, imagining a priceless array of artifacts. In the morning, a flea market of Victoriana awaits him in a parking lot below. Each objet d'art has been produced by his richly informed subconscious. Naturally there are the classic ottomans and clawfoot sofas, the glut of silver tea sets and bridal breakfast services. But there are also treasures from the velvet underground: choice items of bondage, plush Sadean literature, punishment costumes featuring removable posterior panels...

Author: /time Magazine | Title: Books: Legpull | 7/14/1975 | See Source »

...important film makers to come out of the direct cinema movement. The direct cinematographer is a special kind of film journalist who, rather than creating (or reconstructing) events, attempts to situate himself in the midst of them. Though he cannot transcend his subjective viewpoint, his object is ostensibly an objet trove, a "real life drama," and the structure of his film is to be determined by the nature of that object in action. Thus Albert says of Gimme Shelter that "we structure around what actually turned out to happen"; "what comes out of it is a surprise...

Author: By Michael Sragow, | Title: Politics and Films for Beginners | 6/17/1971 | See Source »

...Schwitters was also possessed by that Faustian drive that today can be seen in Claes Oldenburg: the ambition to turn the whole world, bit by bit, into an immense objet trouvé. Thus his radical invention of environmental art. Schwitters' Merzbau (or Merz-house) in Hannover was the first great work of its kind, integrating assemblage, painting and architecture. Its convolutions reached through two floors and four rooms of Schwitters' home, with a separate offshoot in the attic. It was as if he had deposited the cells and memories of his own brain, wrought out in a coral...

Author: /time Magazine | Title: Art: Out of the Midden Heap | 3/1/1971 | See Source »

...first, Dustin comes on all of a heap. His stance is simian, his face an objet trouvé. The hair is from a thatched roof in Cambodia, the nose and chin from a 1948 Chevrolet, the hooded eyes from a stuffed hawk. Even the voice seems assembled, an oboe with postnasal drip. It all appears a shambles?until it begins to work, stunning audiences with articulate force. His current comedy, Jimmy Shine, is a mere vaudeville of the absurd. But within it is the vortical power of Dustin, pulling in the laughs, the cast and the audience. He growls like Durante...

Author: /time Magazine | Title: Cinema: The Moonchild and the Fifth Beatle | 2/7/1969 | See Source »

...sympathetic to Mr. Yelton's point of view, but I suggest that this is exactly the approach that Mr. Andrews will take. He is strongly opposed to the concept of architecture as objet d'art. He believes very intensely that design is only a means of embodying the total function of a building. He is immensely sensitive to the needs of the users of a building, and he constantly sees a building as part of a larger social environment. I think what you will get from Mr. Andrews is the kind of approach that Mr. Yelton describes without the cumbrous...

Author: NO WRITER ATTRIBUTED | Title: ANDREWS CONTROVERSY | 12/4/1967 | See Source »

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