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...setback, like so many others that plagued Cameron's saga of the legendary ocean liner, did not prove fatal. Murdoch saw the film at Fox the next day. "He said, 'It's a great film,' " Mechanic recalls. "He understood where the money went and that we had a chance to get our money back...

Author: /time Magazine | Title: CINEMA: TRYING TO STAY AFLOAT | 12/8/1997 | See Source »

...Cameron could be his spiritual heir. The man who made The Terminator for $6 million has become the high priest of Hollywood bloat. He is also the movies' mad toymaster: he keeps falling in love with an imposing machine (a cyborg, an alien, a submarine, a Harrier jet, an ocean liner) that he then spends great amounts of time and energy destroying...

Author: /time Magazine | Title: CINEMA: DOWN, DOWN TO A WATERY GRAVE | 12/8/1997 | See Source »

...hindsight one can see the components of his culminating achievement, the Ocean Park series, forming in a small, early landscape like Seawall, 1957. First, the clear marine light that seems to bathe all the forms, whether sharply cut (the tawny beach and wedges of black shadow on the left) or vaguer (the tract of scribbled green grass on the right). Second, Diebenkorn's decisiveness about tonal structure and the way sharp contrast can be used both to hollow out the space of the painting and to create a firm, flat pattern. And third, a breezy lyricism of feeling that...

Author: /time Magazine | Title: ART: GOD IS IN THE VECTORS | 12/8/1997 | See Source »

...climax of Diebenkorn's work was, by general consent, the Ocean Park series, which he began in 1967. Ocean Park is part of Santa Monica, the beachside suburb of Los Angeles where he had his studio. From its high crystalline light, its big calm planes of sea and sky, its cuts and interlacings of highway divider and curb and gable and yellow sand, Diebenkorn produced a marvelous synthesis that, though prolonged through more than 140 large canvases, had very few weak moments...

Author: /time Magazine | Title: ART: GOD IS IN THE VECTORS | 12/8/1997 | See Source »

...Ocean Parks, with their pentimenti and layering left exposed to view, one sees the summation of Diebenkorn's admiration for Matisse's way of leaving the picture with the traces of its own making. This reworking leaves an impression of curiosity, not indecision. The paintings are broadly brushed and then "tuned" by passages of fine, but not fidgety, detail. The color, glazed or discreetly scumbled, is luminous--now diffuse like sea fog, now hard and bright as direct sun. The Ocean Parks radiate an Apollonian calm, an uncoercive authority. They are the creations of a man with a fully integrated...

Author: /time Magazine | Title: ART: GOD IS IN THE VECTORS | 12/8/1997 | See Source »

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