Word: reals
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Dates: during 1960-1969
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...real delights of art history comes in the fitting together of pieces of a puzzle. For experts in the field much of the scholarly information has long since slipped into place, but it is ever the privilege of the individual viewer, however amateur his status, to discover newness in the visual evidence itself. The Fogg's imaginative and exciting exhibition offers a wonderful opportunity for such discovery...
...build real people's control on that base requires the involvement and politicization of the entire community--a process which has already occurred to an unprecedented extend and which we now see as our major task for achieving the political goals of our actions. Our collective struggle is both the only way we could defeat the existing structure, and achieve our alternative to it. Control by an irresponsible elite implies the exercise of institutional power in its interest. The trustees support Columbia's participation in I.D.A. because they are part of an elite which benefits from American domination...
...perfect, but anyone who thinks that honest and sometimes wrenching efforts were not made to open up the new Methodist Church is mistaken. The old churches were patronizing at their best as concerns the racial issue. The new church is energetically and sacrificially dedicated to making Christlike brotherhood real. There will be foot-dragging and agonized cries from those who are backing into the future, but it is a new church...
...other unseen. Walter Matthau, with his loping, sloping style, mangled grin and laugh-perfect timing, may well be America's finest comic actor. And Playwright Neil Simon occasionally takes off his clowns' masks to show the humans beneath. In doing so, he has made his Odd Couple real people, with enough substance to cast shadows alongside the jokes...
...splendidly in the frequent crowd scenes, when the groupings suggest at once the linear composition of classical art, and the luxury of a Cinemascope biblical epic. This is due in good part to Olga Liepmann's costumes, which make up in variety and color whatever they may lack in real period style. But in the intimate scenes, the static principle is a good deal less successful. The compositions satisfy when first revealed, but one soon begins to long for motion and depth, for a visual variety to match the energy of Shaw's verbal and intellectual movement...