Word: pollocks
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Dates: during 1970-1979
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Among the women, Caroline Rody's sweet secure voice renders the multi-lingual "Marieke" gracefully, if a bit timidly. Susan Pollock's voice sounds very well-trained--in fact, too well-trained. Her careful attention to breathing and assiduously precise placement of each note is distracting. The demure soprano of Carla Seidel finds the right, slightly cloying tone for "Carousel," though by the end she becomes both inaudible and unintelligible as she tries to keep up with the song. But then, that's the point...
...sales. In a state depending heavily on tourism, Florida energy officials used their 5% emergency supplies to ease the shortage. About 50,000 extra gallons were allocated to the gas station at Orlando's Disney World and 25,000 to nearby Sea World. Insisted Deputy Energy Director Jim Pollock: "We're certainly not trying to show any partiality, but these are major tourist attractions and we're letting them have this to keep motorists from getting stranded...
DIED. Gordon M. Smith, 72, foresighted director of Buffalo's Albright-Knox Art Gallery from 1955 to 1973; of a heart attack; in Buffalo. By boldly purchasing works by such contemporary painters as Jackson Pollock, Willem de Kooning, Jasper Johns and Arshile Gorky before they were widely bought by larger, more affluent museums, Smith and the museum's angel, Woolworth Heir Seymour H. Knox, assembled a collection of abstract expressionist art that is virtually unsurpassed...
...only one effect on an artist's career: they stop it. But they can do wonders for reputation. We might feel different about Van Gogh if, instead of shooting himself in the gut at 37, he had died full of age and honors in bed. The demand for Jackson Pollock's least scribble might be less fierce if a skidding car had not sent him the way of James Dean. And what of Mark Rothko, who killed himself with a razor and pills in 1970? In hindsight, death appeared to be the central image of Rothko's late, dark, claustrophobic...
...hindsight, one can easily see where they got their language: how Gorky's spidery, fluent line emerged from Miro, how the bulging shapes of early de Kooning derive from '30s Picasso, what Rothko got from Max Ernst and Pollock from Kandinsky, and how deeply Adolph Gottlieb's pictographs were influenced by Victor Brauner. But that is perhaps of secondary importance. What counts most in this show is the spectacle of those obscure but desperately committed artists painting as though art had the power to change life, as though culture itself depended on their efforts: which...