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...show and a half. How fast, how silently, the sight of a real sensibility at full stretch can cut through the visual jabber and white noise of so much of the gallery scene! On the evidence of these new works, Marden, 53, is now the finest American abstract painter of his generation...

Author: /time Magazine | Title: Art: Lines That Go for a Walk | 11/4/1991 | See Source »

...once white, now gray, plaster-cast figures in relation to mass culture; today they seem even more attached to solitude and individual grittiness than they did in the '60s, sculptural materializations of the urban mood of Hopper. You could make some kind of case for that excellent California painter Wayne Thiebaud as a Pop artist because he painted hot dogs and angel-food cakes; but artists have always put the food of their time in their still lifes, whether a jamon serrano by Velazquez or a baguette by Manet, and with Thiebaud the formal qualities of the paint now seem...

Author: /time Magazine | Title: Art: Wallowing in The Mass Media Sea | 10/28/1991 | See Source »

Architectural Decay and Industrial Debris: Reflections on a Painter's Landscape--a slide talk with Anne Seelbach. At 7:30 p.m. in the Colloquim Room at the Bunting Institute at 34 Concord...

Author: NO WRITER ATTRIBUTED | Title: At Harvard | 10/3/1991 | See Source »

...economy of his means is stunning. Form floats to your eye out of velvety blackness, and each drawing is a record of becoming. Seurat's personages -- friends like the painter Aman-Jean, strangers glimpsed in the street, women with the mannered gravity of Greek kouroi -- have an immense dignity and distance. Watch how a mere lightening of tone on a woman's face in profile, in the studies for La Grande Jatte, records the head's twist toward the light; or how wittily the curve of a little girl's highlighted slouch hat reflects that of her back. Such style...

Author: /time Magazine | Title: Art: Against The Cult of the Moment | 9/23/1991 | See Source »

...stories. The text is often witty, if declamatory, but the real joys of the piece are acoustic and visual. Philip Glass has contributed his customary pulsating music, which has the narcotic effect of nitrous oxide coupled with the distant hum of a dentist's drill, yet is curiously pleasurable. Painter Red Grooms has designed the sets in a sort of Chagall-meets-Grandma Moses style that is, fittingly, both primitive and highly sophisticated. -- W.A.H...

Author: /time Magazine | Title: Theater: Framed, but Is It Art? | 9/23/1991 | See Source »

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