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Twenty-nine people wanted fur. But they didn't get it, because 46 people wanted rubber. And they didn't get it, because 49 people wanted aluminum. What everybody got was Hybrid, the consensus objet d'art of 1965. It is the result of what two young British artists, Gerald Laing, 30, and Peter Phillips, 26, called an "art-consumer research project...

Author: /time Magazine | Title: Sculpture: Everybody's Object | 4/29/1966 | See Source »

...year ago to interview people from Los Angeles to London, asking what they wished Hybrid, the logical extreme of making art pop, to be. Categories included color, material, pattern, finish, size, as well as choices between closed or open form, two or three dimensions, a figurative or nonfigurative objet. The interviews with 137 artists, critics and collectors were then tabulated by computer. Results...

Author: /time Magazine | Title: Sculpture: Everybody's Object | 4/29/1966 | See Source »

...technician fiddling with the First Lady's person." From her first whispery words, Jackie put on an expert performance in telling how she and her advisory committee have redecorated the White House. Without notes or prompting, she showed a connoisseur's knowledge of every antique and objet d'art that came into view (only one scene had to be refilmed; Jackie momentarily confused a Dolley Madison sofa with one of Nelly Custis'). She easily rattled off the names of bygone artists and cabinetmakers, displayed an impressive knowledge of intimate White House history. The Green Room...

Author: /time Magazine | Title: The Presidency: Simply Everywhere | 2/23/1962 | See Source »

...delay at least makes the film more timely. Its hero is an objet d'artful dodger (Rex Harrison) of the sort that stole Goya's Duke of Wellington from the National Gallery in London (TIME, Sept. 1). With the help of a dumb broad (Rita Hay worth) and a clever painterfeiter (Joseph Wiseman), Rex artnaps a Velásquez from a castle in Spain. But a sinister grandee (Grégoire Aslan) steals it back, and before long bodies are dropping almost as fast as bum mots ("I want so much to be a first-class crook...

Author: /time Magazine | Title: Cinema: Bodies & Bum Mots | 2/2/1962 | See Source »

Porter can be frostily aloof when bored, but he can also be warmly demonstrative when something takes his fancy. He has been known to get emotional over an objet d'art or a piece of costume jewelry, and he has been moved to tears by revisiting his old Yale haunts and by hearing Lena Home sing...

Author: /time Magazine | Title: The Theater: The Professional Amateur | 1/31/1949 | See Source »

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