Word: paint
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Dates: during 1970-1979
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...what an abstract artist at the height of his powers can do, one should go to the two large relief paintings by Frank Stella, with their flapping, exuberant forms slathered in paint, crayon and glitter: a splendid yawp of vitality. Beside such work, nearly all the abstract painting being done by artists of Stella's generation in the U.S. today looks ei ther timid or bored. Among younger artists, the abstract impulse tends to be more plainly decorative, less ambitious: witness the elaborately imbricated patterns of Joyce Kozloff s Mad Russian Blanket, or the high-keyed color swatches, like...
...paint Schlesinger as unrelievedly difficult is too harsh. His intimates say that to see him cross-legged on the floor, guitar in hand, singing his own self-mocking lyrics, is to know a different person. And there is no doubt about his capacity to analyze and understand the complex issues of energy; he is the match of any expert in the field. It is his ability to lead that is questioned...
...portentous, dissonant music. He reduces an all-star international cast-Newman, Fernando Rey, Bibi Andersson, Brigitte Fossey, David Langton, Vittorio Gassman-to interchangeable (and often indistinguishable) ciphers. He blurs the perimeters of his images with Vaseline. Though two writers assisted Altman on the screenplay, the witless lines amount to paint-by-number existentialism: "Every time you cheat death, you feel the pure thrill of life...
...attention for recognizing the A.F.L. as the bargaining agent for center employees. Labor never forgot, and many unions later supported him in his campaigns for Governor. But there were limits to his liberalism. Indulging his passion for modern art, he commissioned the well-known Communist Artist Diego Rivera to paint a mural for the center. When a likeness of Lenin began to emerge on the wall, Rockefeller hastily sacked Rivera and destroyed the offending mural. It was replaced by a more appropriate work, featuring Abe Lincoln and Thomas Edison...
That sense of reality in the midst of abstraction, of the painting as an object rather than an image, would stay with Nicholson. It is not much to the fore in his first tentative cubist paintings, but it is evident in the severely geometric white reliefs Nicholson did in the 1930s under the spell of constructivism and Mondrian, and it pervades his later work. The viewer is always aware of material gently asserting itself: how the tobacco-brown hardboard, rubbed and glazed with a pow dery white or blue that clings to its sur face like fog to a headland...