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...expressionism. But she was able to find a way of rapid gestural drawing that did not depend on the skeining and overlay of thrown paint from edge to edge that Pollock had perfected. It was the brush that counted for her, and when she did fling or dribble liquid pigment on the surface, it only looked like a mannerism. But her sense of drawing was so ingrained that she could cover a huge surface with notations that never palled: shifting tempo, direction, fatness of marks; she could (literally) paint up a storm. Works like Cobalt Night, 1962, or Charred Landscape...

Author: /time Magazine | Title: Art: Bursting Out of the Shadows | 11/14/1983 | See Source »

...said that she was an arrow speeding towards the world's great heart and that she could almost feel its warm red pigment seeping into her pores, would that be acceptable? It was like that...

Author: By Sophic Velpp, | Title: 20th Century Gothic | 11/11/1983 | See Source »

...tiles are streaked and blotched with rust and orange algae, sweeps and daubs of pigment; the untended pool might have been the scene of a murder, a nastiness complicated but not denied by the big, squishy peony blooms floating on the water. It is Bartlett's aide-memoire, the cam era, that sets the strange flavor of these images. She will paint four or five versions of the same view, shifting position a little each time; the effect is not one of Warhol-like repetition, but rather of alert, frustrated scrutiny, as though the scene held...

Author: /time Magazine | Title: Art: Revelations in a Dank Garden | 10/31/1983 | See Source »

...sense of the world's insecurity; it ends as a reassuring convention, directing one's gaze to the abstract qualities of the painting. Certainly, no one could say Baselitz lacks pictorial flair. When he is in full cry, slathering the surface with that thick and turbid pigment, now layered in grit and now applied with a kind of skidding creaminess, he achieves a fluency of rhetoric that does much to animate the more standardized conventions of his work. His sculpture is another matter. Nothing, not even the passionate exhortations of the Greens, could make you feel sorrier...

Author: /time Magazine | Title: Art: German Expressionism Lives | 8/8/1983 | See Source »

Ultraviolet radiation has less obvious but even more pernicious effects. By altering proteins in the lens of the eye, it causes a gradual deposit of yellowish pigment. As with the tan, this pigmentation is beneficial up to a point; it helps shield the delicate retina from UV damage. But the dense accumulation of pigment after years of sunning is the main cause of cataracts...

Author: /time Magazine | Title: Bring Back The Parasol | 5/30/1983 | See Source »

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