Word: paint
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Dates: during 1960-1969
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Shurcliffe then moves on to paint a grim picture of what the real sonic boom would be like. The chapters on "Annoyance and Injury to People" conjures up visions of light sleepers being rousted from their beds by sudden booms and surgeons making tragic blunders when boomed at the operating table. There are statements from newspapers telling about deaths from sonic booms, and even psychologists' analyses of the "irritation and frustration, as well as dramatic declines in work efficiency" that chronic booming would produce...
Richard Nixon, who is above all a methodical craftsman, addressed himself to stretching and sizing his canvas before attempting to paint big answers for public view (although he did schedule his first formal press conference for this week). In their early days at least, most administrations are judged more by their style than their programs, which are generally embryonic at this stage. Nixon and his men so far convey an earnest, deliberate, unspectacular approach. The President's inaugural address clearly reflected this attitude: "As we measure what can be done, we shall promise only what we know...
...just as serious about having my paintings not mean anything as abstractionists are about having theirs mean something," says Jean Jones Jackson, a Connecticut matron who taught herself to draw during a bout with TB 15 years ago. "I can't bear anything symbolic." Jackson protests that she paints only small pictures because her technique is too poor to allow her to paint big ones. In fact, her pettiness is a positive dimension, making what might otherwise be a fairly conventional mix of Rene Magritte and Grandma Moses seem witty, bizarre and remote...
...when Kulicke sits down to paint, he produces minute still lifes in a nostalgic, bittersweet style that he calls "more 17th century than 20th...
...wrote Ralph Waldo Emerson in 1841. And so believes American Composer Earle Brown, 42, whose music bears an unmistakable relationship to the plastic arts. Brown's work owes a debt to the mobile sculpture of Alexander Calder and the abstract expressionist painting of Jackson Pollock. His scores are graphic in their detail and precision, but he believes in a certain improvisation or mobility within a performance itself. Therein lies the influence of Calder, whose mobiles are made of 15 to 20 parts moving freely in space and changing their relationships with one another from minute to minute. Pollock...