Word: samuels
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Thus, in 1965, the director of the Philadelphia Institute for Contemporary Art, Samuel Green, took the pratfall from the ivory tower in a preface to the world's first book on pop art, an emetically extravagant volume by a writer named John Rublowsky. Yet who today shall say he was not right? By 1965 pop had become the most popular movement in American art history, drenched in ballyhoo, gratefully supported by legions of collectors whose appetites bore the same relation to connoisseurship that TV dinners do to poulet en demi-deuil. Warhol, Lichtenstein, Indiana, Rosenquist, Wesselmann, Oldenburg, Johns...
Edel's and Blotner's differing approaches delineate two modes of megabiography, a field defined by Boswell in his study of Samuel Johnson. There is the "definitive" biography, which leaves the reader on a first-name basis with the subject, weeping at his funeral. And there is the "picayune" biography, which leaves the reader with so many personal, intimate but unnecessary and non-integrated facts that he feels like taking a shower. Often, the picayune biography is an "authorized" work, written by a worshipping professor after the death of a great writer. Lytton Strachey anticipated Blotner's contribution to this...
...recurring theme, since many of the men and women interviewed are over 65. In fact, younger writers get hardly any representation at all in this collection, and the "radical innovators"--Samuel Beckett, Nathalie Sarraute, Eugene Ionesco--have all been around for quite a while, Surely Shenker could have made room for some new faces by omitting a few of the more trivial pieces--for instance, "Howlers," a collection of high-school malapropisms only slightly above the level of Kids Say the Darnedest Things...
...chosen the Hunneman Corporation to assume management of the housing development once it is occupied. John Sharratt Associates, Inc. will be the architect for the development, with Samuel Glaser and Partners as associate architect...
Despite such occasional disappointments, expensive films of this kind are good for television movies in the same way that the David Selznick-Samuel Goldwyn-Irving Thalberg "prestige" productions were good for the movie industry in the '30s. They cause people who would not otherwise pay attention to the form to do so. But as with the old films, so with TV movies: the quick, deft westerns, mysteries and action melodramas that depend on well-established conventions may in the end exert a larger claim on our attention than their more pretentiously publicized rivals...