Word: pasadena
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...PASADENA, CALIF., Rose Bowl officials stopped selling tickets to the Jan. 1 classic pending a ruling by the Cost of Living Council on whether a proposed price hike from $8 to $10 is legal. Though the game will be played after the freeze expires, Bowl officials want to avoid refunds to early ticket buyers...
...nightmare of logistics, thanks to the size of his work. The I-beams of his 1967 construction now on loan to Minneapolis, Are Years What? (For Marianne Moore), have a spread of 50 ft. and a rise of 40 - the height of a four-story building. When the Pasadena Museum temporarily allowed Di Suvero to rig a 35-ft. steel sculpture on its grounds, the only site it could spare was a corner of the parking lot; apparently the trustees feared it would chew up their lawns. The installation bills included a whopping $3,500 from the city engineer...
...possibly the most influential sculptor of his generation. His austere and intensely deliberate art has proved a disinfectant, sluicing away the organic waste that tended in the early '60s to encumber current ideas about sculpture in the U.S. and abroad. His work is now being celebrated at the Pasadena Art Museum by an exhibition of his boxes, stacks and progression pieces organized by Art-forum's new editor, John Coplans. Since this museum is a regrettable hybrid of cruise-ship lounge and California bathroom, the event is not altogether harmonious, and the relationship that Judd's pieces...
...curious thing is that, as the show in Pasadena makes clear, Judd's work is a good deal less cold and unenjoyable than its philosophy suggests. His use of materials is instinctively exquisite. A piece like Untitled, 1970 (see color page) seems bald at first-a run of identical flat sheets of galvanized iron, each 5 ft. by 4 ft., along the gallery wall. Then you notice the silvery flakes and washes caused by the galvanizing bath, rising through the darker metal and catching the light like mica, and that sense of program and frigidity goes. Says Judd: "There...
...with his current "retrospective" at the Whitney Museum, which, when it opened last week, proved to be no retrospective at all but a tiny sampling of his work on canvas from 1962 to 1971, hived off from a larger, more systematic show that Critic John Coplans organized for the Pasadena Art Museum last year and has since been touring Europe to near-hysterical acclaim. The Whitney show starts with a series of the soup cans that propelled Warhol into notoriety. But earlier sequences are not present, which is unfortunate, since it denies viewers the chance to follow Warhol...