Word: serra
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Glass returned at a time of remarkable artistic ferment (see box). In the late '60s Reich, a Juilliard classmate, had codified early minimalist theory in such works as It's Gonna Rain and Come Out. Wilson was staging The Life and Times of Sigmund Freud. Minimalist Sculptor Richard Serra (see ART), an acquaintance from Paris, was preparing a one-man exhibition in New York. Reich had already formed an ensemble, and he and Glass sometimes joined forces. A pair of 1969 concerts at the Whitney Museum of American Art attracted public and critical attention to the burgeoning phenomenon of minimalism...
...legislator has a lot more to lose by trying to dampen participation," counters Emilio Favorito, a staff member for Emanual Serra (D-East Boston), who chairs the House Elections Laws Committee...
Fool-Fo, impersonating by turns a police inspector, a high-court judge and a bishop, leads the local police through what is supposedly an official investigation of the anarchist's death. They (Tom Hewitt as the captain, Michael Jeter as the sergeant, Joe Palmieri as an inspector, Raymond Serra as the police chief) are basically cartoons of goons, the Four Stooges horsing around in the basement of the Lubyanka. Fo's jokes sometimes foozle aimlessly about the room like a balloon that jets on its own escaping air. An effort to give an essentially Italian product some American...
Still, if Claes Oldenburg dribbled sticky floods of enamel over his hamburgers and plaster cakes in the '60s. he did so in homage to Pollock. If a sculptor like Richard Serra made sculpture by throwing molten lead to splash in a corner, or Barry Le Va scattered ball bearings and metal slugs on the floor of the Whitney Museum, the source of their gestures was not hard to find. Distorted traces of Pollock lie like genes in art-world careers which, one might have thought, had nothing to do with his. Certainly Pollock scorned decor. He was not interested...
...observer's eye knows nothing of the sitters in advance. None of them is famous for being famous, except at the SoHo level of celebrity-some being, in fact, well-known artists, like the sculptor Richard Serra or the composer Philip Glass. Thus what Close proposes is a kind of portraiture diametrically opposite to Andy Warhol's images of Marilyn or Liz, where the painting, an icon of the Star, adapts itself to the intrusive power of repetition and generalization. With Close, there is no generalization at all. None of his faces has a role. There...