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Demonic Force. The artist now mixes media with enthusiastic abandon. The 17 monstrous painted panels in the London show are augmented by grafted-on photographic blowups, found objects and even entire plaster sculptures. And their subject matter is as apocalyptic as their technique is accomplished. Typical is his self-portrait of the artist at work. Whiteley painted in his head, wreathed in its halo of reddish hair, and showed his left hand drawing at an easel. But the right, black-shirted arm snakes out across the floor to where his twisted, plaster-spattered fingers offer the startled viewer a fresh...

Author: /time Magazine | Title: Painting: Plaster Apocalypse | 11/10/1967 | See Source »

...accuse Raphael of being unfaithful to Hardy's original. He has moved virtually every incident of the novel into his script. But in doing so, he, with Schlesinger's twitchy camera, have served up more plot than the film's skimpy characterization can plaster together. Perhaps as a unification device, Schlesinger again hauls out his Darling trick of beginning the dialogue of the next scene while still presenting a first one. No scene is presented at any great length, except the the key one in which Stamp wins Miss Christie with a flashing display of sword exercises on a sweeping...

Author: By Glenn A. Padnick, | Title: Far From the Madding Crowd | 11/7/1967 | See Source »

Included in this group are the "fantastics," born between 1910 and 1930, who explore odd materials and resort to private mythologies, whether through the twisted polyurethane of Chamberlain, the plaster casts of Segal, the junk sculpture of Stankiewicz, or the soft objects of Claes Oldenburg. On the bottom three tiers, and on the ground floor and bottom levels, in stage center, are the minimalists, including Tony Smith (TIME cover, Oct. 13). It is Fry's opinion that the minimalists, who build industrially produced large-scale works, are trying to achieve a "tabula rasa, the clean slate upon which...

Author: /time Magazine | Title: Sculpture: Responding to the Moment | 10/27/1967 | See Source »

Flanked by a sleazy bar and grill and a dusty antique-and-junk shop, the tawdry tenement at 169 Avenue B on Manhattan's Lower East Side is typical of the area. Decaying plaster and peeling paint festoon its dark blue hall ways, and a flight of creaky wood stairs leads down to an oppressively low-ceilinged cellar that reeks of dog droppings and rancid garbage. A single naked light bulb illuminates the grimy heating pipes, the cockroach-scampered walls, and piles of loose, whitewashed firebricks from the building's boiler. It hardly seems the place...

Author: /time Magazine | Title: New York: Speed Kills | 10/20/1967 | See Source »

...revolver, he shot his wife's attorney dead. Marie Bivins came next: dropped by one slug in the neck, she died in the jury box. Judge Parker heaved his swivel chair at Bivins, who was pumping a slug at his own lawyer, showering the deputy court clerk with plaster when the bullet pinged into the wall near her head. Then he turned and shot Parker in the loins. When his gun misfired, the judge and Bivins' lawyer managed to kick him into submission...

Author: /time Magazine | Title: Trials: Divorce, Rapid City Style | 10/6/1967 | See Source »

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