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Coffined under the white sheets of a hospital bed, Harrison is a lively tribute to the resilience of the human spirit under duress. A sculptor by craft, Harrison has a witty tongue, an agile intelligence and a wicked gift for logic and paradox; yet his plight makes his animated flow of mockingly funny words self-scalding. Conti makes the character an irresistible charmer whose naughty pillow talk seduces the nursing staff and even Dr. Scott (Jean Marsh of Upstairs, Downstairs renown), who loses her professional cool along with part of her heart...

Author: /time Magazine | Title: Theater: Who Plays God? | 4/30/1979 | See Source »

...areas in which this happened was sculpture. It was perhaps the last time that a sculptor could imagine, in good faith, that he was history's megaphone. The social power of art was still unquestioned, and to change the language of sculpture was, at least potentially, an act of real cultural and moral significance. In those 40 years, the language of sculpture underwent the most searching revision it had had, perhaps in its whole history, and certainly since the time of Bernini and his followers in the 17th century. It moved, to put it roughly, from the lump...

Author: /time Magazine | Title: Art: At the Meeting of the Planes | 4/16/1979 | See Source »

...Giacomo Balla to the radical experiments of the Russian constructivists, Tatlin, Rodchenko, Lissitzky, Puni; from Alexander Archipenko's wall reliefs to Julio Gonzalez's iron constructions and Alexander Calder's fluttering mobiles. Artists as unlike as Naum Gabo and David Smith were affected by it. No sculptor interested in either ideal formal systems or new materials was immune to its promises, and its influence persists to this day. Sculpture had been solid since paleolithic man made his fertility dolls, indeed since God made Adam out of clay; it now became a matter of intersecting planes, of wires...

Author: /time Magazine | Title: Art: At the Meeting of the Planes | 4/16/1979 | See Source »

...with Malevich and Lissitzky in the years just after the 1917 Revolution, and whose exquisitely organized sculptures of painted sheet steel radiate an un common precision of feeling. Alas, nearly all of Kobro's output has vanished, as has that of László Peri, a Hungarian sculptor who died in 1967. His concrete wall plaques, so tersely unbeautiful and confident in their "shaped canvas" eccentricity, remind one how many of the concerns of today's nominally advanced sculpture, which presumably seems nov el to those who make it, were threshed over and done better half...

Author: /time Magazine | Title: Art: At the Meeting of the Planes | 4/16/1979 | See Source »

Tabor's pivotal case arises when the politicians and legal establishment attempt to do her in: Gabriel Zampa, an eccentric sculptor builds three Watts-like towers jutting out of the tan wasteland, "Cause eve'yt'ing aroun' was gettin' ugly." The city orders them demolished, but Tabor argues that they are works of art. Craftily, the city hires Ellen Trask, a woman whose credentials are even more formidable than Tabor's, and with the ceremony of gunfighters, the two legal amazons go at it. Tabor wins, but neither she nor the towers are safe...

Author: /time Magazine | Title: Books: Notable | 3/12/1979 | See Source »

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