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GEORGE SEGAL, in my estimation, is born to win, but in this movie he's been given a crooked deal. The scriptwriters (David Scott Milton and director Ivan Passer) can't make up their minds between hilarity and a grim social realism. While real life often veers between the tragic and the ridiculous, a movie needs some sort of coherent outlook--either in the choosing of the scenes themselves (as with slices of life in which the slice is carefully cut) or in their treatment...

Author: By Esther Dyson, | Title: Put It Together, Ivan | 2/12/1972 | See Source »

...Bundle. At one end of this spectrum sits a neatly bundled phenomenon called Radical Realism or, to give it the name of a new show consecrating it at the Janis Gallery, "Sharp-Focus Realism." Well before the opening, it was clear that the show's promoters expected the style to have the same razzy, traumatic effect on New York taste that Pop art had in 1962-and that they were ready to use the same kind of ballyhoo to ensure it. In a way, this was fitting. The creation...

Author: /time Magazine | Title: Art: The Realist as Corn God | 1/31/1972 | See Source »

...focused on an absolute truth of contour, the precise sensation of bunched, knotted or slack muscle, the laconic interplay between the cold skin and the darting, vivid pat terns of the fabric. No artist of Pearlstein's generation has so brave ly confronted the basic issues of realism-how to hold the utmost concreteness of three-dimensional volume within the strongest two-dimensional pattern. The vigorously modeled limbs and trunks of his subjects create a pictorial energy that, like the black scaffolding of Kline's brush marks, burst through the edges of the canvas. Pearlstein scorns using photographs...

Author: /time Magazine | Title: Art: The Realist as Corn God | 1/31/1972 | See Source »

...that got her access to Marat's bathroom. It is an exhilarating picture, with its firm amplitude of shapes and stripes. Leslie thinks of his work in partly ethical terms. "I think," he reflects, "it was Balzac who said that when art begins to decay it is always realism that comes to the rescue. This is why we must fight for the restoration of the realistic painter's rights-why I feel that I have to paint from life, to restore, at least in myself, the power to see things at first hand. There is a direct relationship...

Author: /time Magazine | Title: Art: The Realist as Corn God | 1/31/1972 | See Source »

...POLICY. There must be more realism in America regarding the realities of modern Asia. The turmoil that has engulfed South Asia is essentially a legacy of the big-power politics from the days of John Foster Dulles. We have never believed in balance-of-power politics; it is quite out of date. But it was that sort of politics that forced us into war, even though war was not in our national interest. We are not going to allow other countries to use Pakistan as they have before...

Author: /time Magazine | Title: The World: Not a Person To Be Pressured | 1/3/1972 | See Source »

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