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...looniest but in some ways most revealing part of The Class of the 20th Century is the series of messages that concludes each episode, in which participants are invited to speak directly to people of the year 3000. Their comments provide a sketchbook of the concerns, great and petty, of our age. Art Buchwald says he hopes there will be good air and good water, though "we didn't leave you any." The late Joseph Papp wishes for no more theater critics. Strom Thurmond advises a regimen of daily exercise. Howard Cosell, with his trademark bombast (we miss it), offers...

Author: /time Magazine | Title: A Talk Show Without Egos THE CLASS OF THE 20TH CENTURY; A&E, Thursdays, 9 p.m. EST | 1/13/1992 | See Source »

Assassins is a sketchbook, sparse and almost forgettable in its musical elements, dominated by skits that would have been too extreme for Saturday Night Live in its heyday. The linking idea is that assassins constitute a sort of club, with past and future killers inspiring one another in a grand conspiracy. This mildly provocative notion is made silly by being rendered literal: the opening features a carnival shooting gallery and then a kind of time-warp barroom where John Wilkes Booth meets John W. Hinckley Jr., where Leon Czolgosz, killer of William McKinley, encounters Giuseppe Zangara, attempted murderer of Franklin...

Author: /time Magazine | Title: Glimpses Of Looniness: ASSASSINS | 2/4/1991 | See Source »

...what used to be called a connoisseurs' show. It covers a short time in a long life. Henri Matisse visited Morocco just twice, in early 1912 and again in the winter of 1912-13. Hence the exhibition is fairly small, only 24 paintings and a large group of sketchbook drawings. It can be seen without sore feet and framed as a whole in one's mind. It is thorough, scholarly -- Jack Cowart, John Elderfield, Pierre Schneider and others have done a fine job on the catalog -- and, above all, full of exhilaratingly beautiful paintings that have lost none of their...

Author: /time Magazine | Title: Art: A Domain of Light and Color | 7/2/1990 | See Source »

LARGELY NEW YORK. Lanky, limber Bill Irwin, silent in this 70-minute Broadway sketchbook, owes much to Jacques Tati and Marcel Marceau, but gags about man's obsessive relations with machines still work in a Walkman world...

Author: /time Magazine | Title: Critics' Choice: May 29, 1989 | 5/29/1989 | See Source »

LARGELY NEW YORK. Lanky, limber Bill Irwin, silent in this 70-minute Broadway sketchbook, owes much to Jacques Tati and Marcel Marceau, but gags about man's obsessive relations with machines still work in a Walkman world...

Author: /time Magazine | Title: Critics' Choice: May 22, 1989 | 5/22/1989 | See Source »

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