Word: set
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Dates: during 1970-1979
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Heavy demand for coal would wipe out the present glut of the fuel and help lift production from its current level of only about 650 million tons last year to the 1.2 billion-ton 1985 goal that Carter set for the industry in his first energy address two years ago. In the semiarid reaches of the intermountain West, where treasure troves of coal lie almost on the surface just waiting to be scraped up and hauled away, whole new towns would have to be built to house the workers employed at mines and synfuel plants. Residents of the region regard...
...best bet is thought to be production of oil and gas from coal. Carter has set a goal of the equivalent of 1 million to 1.5 million bbl. a day by 1990. The technology is well known. South Africa gets 10% of its oil from coal and expects the total to rise...
...miss-at first. Arikha loathes spectacle and the tyranny of impact; his paintings, small, low-colored, high-keyed, are owls, not peacocks. They are single images, enumerations of ordinary objects-a battered pair of black shoes, a stoneware jug, or a bunch of asparagus tied in blue paper set down with an odd, veiled discomposure. The size of the painting laconically follows the size of its subject. Isolated and closely scrutinized, these motifs give Arikha's canvases a likeness (insofar as painting can ever resemble writing) to the elliptical sentences of his friend Samuel Beckett, imbued with a hard...
...build up a record of their action through a labyrinth of nuances. For this reason, a painting like Anne Leaning on a Table, 1977, is as bracing as it is modest. A high stamina of observation is entailed in the complicated whites and shadows of the tablecloth and housecoat, set down with Arikha's fugitive and worried scribbles of the brush. When he leaves his customary palette of white and earth colors, the results show his background in abstract painting: Canadian Envelope, 1977, with its immaculate placement of rectangles, its cross-rhymes of blue and red, seems as consciously...
...work from photographs, since photography and painting generalize in different ways. His object, brilliantly realized in some parts of his small and sharply edited output, is to make sight and formal deliberation fuse. The conjunctions within Arikha's work, its breadth of language and depth of feeling set off against its insecurity and self-questioning, make it unlike any thing done by an American figurative painter since Edward Hopper. So does its intelligence. Nothing in this show is raw, or facile, or - especially - as simple as it looks. -Robert Hughes