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Senator Fulbright's good friends the Southern industrialists were overjoyed, but his good friends in the Textile Workers Union of America. C.I.O., were not. Said T.W.U. Executive Vice President William Pollock, in an appeal for repeal of the Fulbright amendment: "What the court said, in effect, is that it is quite proper for employers in one section of the country to pay less for the same work as long as they can get away with it. Under this kind of reasoning we should also abolish the federal minimum wage law [under which the minimum is 75? an hour...

Author: /time Magazine | Title: LABOR: On the South Side | 4/18/1955 | See Source »

Kiesler's "galaxies" are not startlingly beautiful, but they are more original than any art novelty of the past decade-including Picasso's ceramics, Giacometti's stick-sculptures, Matisse's chapel at Vence, Jackson Pollock's dribble-pictures and Juan O'Gorman's outdoor mosaics at the University of Mexico. Instead of painting single pictures, Kiesler has painted fragments of pictures, often irregularly shaped, designed to be hung in clusters according to definite geometrical schemes...

Author: /time Magazine | Title: Art: Something New | 10/11/1954 | See Source »

...Jayvees, however, have been shaken up. Rouner has moved Bill Lawrence from 3 to 7; Frank Maybank from bow to 6; John Lizars from 5 to 3; Bill Lindemulder from 6 to 2; and Tim Gray 7 to bow. Oscar Pollock and Jim Barrett are new, taking 5 and 4 respectively. Bill Ota will call the beat...

Author: NO WRITER ATTRIBUTED | Title: Same Lightweight Boat Faces Yale, Dartmouth, Tech on Charles Today | 5/1/1954 | See Source »

Thousands may disagree, but hundreds of art lovers argue that Manhattan, not Paris, is the new queen city of contemporary painting. The "New York School" of abstract expressionist art, sparked by such painters as Willem de Kooning and Jackson Pollock, has long been characterized by big, wild, inchoate canvases meant to represent only moods. Now that seems to be changing; leaders and followers alike are beginning to knead chunks of the physical world into their abstractions...

Author: /time Magazine | Title: Art: Words & Pictures | 3/8/1954 | See Source »

Seen across a room, the picture looked rather like an abstraction. Somber in color, it had a surging quality as unsettling as any work by such abstract expressionists as Jackson Pollock or Willem de Kooning. A closer look justified the big tempera's title-Field Gate. In the foreground were two rickety gateposts, from which a faintly discernible path looped up and away over a vast, snow-swept hillside rising to an eerily shifting, storm-filled sky. Meticulously building this wide, wild scene, grass blade by grass blade, Wyeth suggested the looming forces of nature in an impassioned portrait...

Author: /time Magazine | Title: Art: Breakthroughs | 11/16/1953 | See Source »

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