Word: punche
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...secretary), the Crimson decided to move its office to the brand new Union. There were only two worries, FDR recalled later. "There was much fear expressed that the new quartrers would take away the esprit de corps which had grown up in the old Sanctum, and also that no punch-nights could be held in the Union. Both fears proved groundless...
...company has done more to change the way America works than International Business Machines Corp. Founded in 1911, IBM soon came to dominate the market for time clocks and punch-card tabulators. In the 1930s it pioneered the sale of electric typewriters. But its most revolutionary feat was to usher in the computer age. With vision and drive, IBM increased the electronic brain power of American business and then spread that boon around the world. In the 1960s and '70s, roughly two-thirds of all computers sold bore the IBM trademark. The company was so overpowering that the eight...
...Peter Voulkos, now 57; a group of his pieces from those years begins the show. They record his decision-and it cannot have been an easy one 25 years ago-to apply the latent violence of abstract expressionist paint handling to the solid medium of clay: to twist, punch and slash the continuous form one expects of a pot's surface, opening it up to create the visible inner spaces that belong to sculpture. Compared with the best abstract expressionist Voulkos' sculpture (David Smith's, say), somewhat clumsy and overworked, but its impact on the art community...
...Kenneth Price, 46. But where Mason's work is rocklike and lumpen totemic. Price's involves an elegant denial of clay's earthen nature. His sharp-angled, cubistic "cup" sculptures look so machined and precise that they might have been conceived in metal; the brilliant visual punch of the industrial glazes in De Chirico's Bathhouse, 1980, accentuated by the thin white lines where the facets of clay meet, gives these tiny objects a mysterious, artificial density...
...Wilder, 75, who has been writing mordantly funny movies for more than a half-century and directing them for almost as long, has slowed though not mellowed with age. Gone is the crackling pace of Some Like It Hot and One Two Three; now the actors pause after a punch line for laughs that may never come. The pirouetting narrative (from Francis Veber's script for the French film A Pain in the A-) is occasionally incredible. Wasted in flaccid supporting roles are the comic gifts of Paula Prentiss and the decadent-skeleton face of Klaus Kinski. Some...