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...other modern works set; most were lower than dealers hoped. A Milton Resnick abstraction brought only $550. A 1948 semiabstract De Kooning brought $9,000. Abstract expressionists won no enthusiasm. A huge Mathieu went for a paltry $5,250. Hartigan hit $3,000 but had a low of $700; Okada hit $2,000, Marca-Relli $3,000. The real surprise of the evening was a quiet, 1952 still life of ceramic ware, plain as a cupboard and less abstract than a Cezanne, by 73-year-old Giorgio Morandi. Winning...

Author: /time Magazine | Title: Art: Thumbs Under the Hammer | 5/22/1964 | See Source »

...KENZO OKADA-Parsons, 24 West 57th. When Okada came to the U.S. in 1950 with a full-fledged Tokyo reputation, he turned to abstraction "the Western way." Now he executes his paintings with knives, fingers, rollers and brushes, but their pale images still have a Japanese serenity. Through...

Author: /time Magazine | Title: Art: MIDTOWN | 1/17/1964 | See Source »

Best known among the other winners were Sam Francis, who lofts petals of color on huge expanses of canvas, and Ivan Albright, painter of meticulous magic-realist works. Kenzo Okada won with his serenely pale abstract, Posterity, which blends European and Oriental idioms. Least appealing of the prizewinners were Ennio Morlotti's garishly colored, gouged abstract called Cactus and Paolo Vallorz' standing nude, a throwback to the Art Students League life class...

Author: /time Magazine | Title: Religion: The Lively Answer | 9/20/1963 | See Source »

...Rockville, Md. They entertain visiting firemen and corpsmen with vigorous hours of softball, touch football and swimming. Shriver is a good tennis player, easily beats Bobby, who is the Kennedy clan's best. He is also an art connoisseur, has a diversified personal collection including Salvador Dali, Kenzo Okada...

Author: /time Magazine | Title: The Peace Corps: It Is Almost As Good As Its Intentions | 7/5/1963 | See Source »

...Often an Okada painting will suggest a bit of landscape or sky, but sometimes, as in Memories, the images simply float across the canvas like some sort of exquisite flotsam. In the last five years, Okada's palette has grown increasingly muted, and his colors have a weathered look as if time had washed over them again and again, giving them that frail grace that comes only with great age. Nothing is consciously organized; it is Okada's achievement that, in the end, everything still seems in place. This is the chaotic logic of a remotely remembered dream...

Author: /time Magazine | Title: Art: Pictures of Dreams | 1/25/1963 | See Source »

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