Word: paints
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Dates: during 1980-1989
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Abbie Hoffman and Jerry Rubin, the Yippies' brilliant impresarios, compiled a ridiculous mock agenda that the authorities took in earnest: the Yippies threatened to put LSD into the city's water supplies, to drug the delegates' food, to get "hyperpotent" male Yippies to seduce the delegates' wives, to paint cars to look like taxis and kidnap delegates to Wisconsin. The underground Express Times warned, "If you're going to Chicago, be sure to wear some armor in your hair" -- a sardonic echo of the sweet flower-child tune of the summer before ("If you're going to San Francisco...
...been transformed into a performance space (and folly) in which Avant- Garde Director Peter Brook could present his 9 1/2-hour epic, The Mahabharata. The firm of Hardy Holzman Pfeiffer Associates has implanted modern plumbing and electrical systems but otherwise has maintained the look of desuetude: chipped plaster and peeling paint, exposed beams and brickwork. The Piranesianism is a bit coy, maybe, but more affecting than much standard spic- and-span preservation...
...nothing of his fine nose for moral rot. Of all the witnesses who have written memorably of Nazi evils, this retired chemist at a Turin paint factory was the most discriminating. His books Survival in Auschwitz, The Reawakening and Moments of Reprieve read as if revenge (a dish best eaten cold, advises the proverb) were a matter of patient qualitative analysis. In The Periodic Table (1984), Levi even used the known basic elements as metaphors for human characteristics. His Jewish ancestors from the Piedmont, for example, resembled argon: "Inert in their inner spirits, inclined to disinterested speculation, witty discourses, elegant...
...haunting and oblique way. Margarete's presence is signaled, like a motif in music, by long wisps of golden straw, while Shulamite's emblem is charred substance and black shadow. Hence Kiefer's tragic image of Shulamite, 1983: a Piranesian perspective of a squat, fire-blackened crypt, the paint laid thick in an effort to convey the ruggedness of the masonry, whose architectural source (as Mark Rosenthal points out in his astute introduction to the difficulties of Kiefer's work) was a Nazi "Funeral Hall for the Great German Soldiers" built in Berlin in 1939. At the end of this...
...ringing and deeply engaged rebuke -- clumsy sometimes, and bathetic when it fails, but usually as pictorially brilliant as it is morally earnest -- to the ingrained limitations of its time. It sets its face against the sterile irony, the despair of saying anything authentic about history or memory in paint, and against the general sense of trivial pursuit that infests our culture. It is a victory for the moral imagination...