Word: smithsonian
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Along the vast greensward that sweeps from the foot of Capitol Hill to the Washington Monument, there glitters the newest star of the Smithsonian Institution. The National Air and Space Museum (NASM), a huge, elegant hangar designed by St. Louis Architect Gyo Obata, is a cathedral to man's fascination with flight. Surfaced in pink Tennessee marble and bronze-tinted glass, the museum houses many of the great artifacts of aviation and space travel in a three-story structure 680 ft. long. A Washington rarity in that it was finished on time and within the $40 million budget...
...close to one another that they are held together by their mutual gravity. As a result, a huge pocket of condensed gas, trillions of miles across, is formed at the edge of the larger cloud. In a model proposed by Astronomers Bruce Elmegreen and Charles Lada of the Harvard-Smithsonian Center for Astrophysics, shock waves from the ignition of earlier massive stars help create the conditions for the birth of other stars from the same cloud...
...only the subject but also the designer of this week's cover, a collage commissioned by TIME-Hughes spent a week in Captiva, Fla., as a member of Rauschenberg's household. He later accompanied the artist to Washington, D.C., for the installation at the Smithsonian Institution of a huge retrospective of the Pop art patriarch's work...
Inside it, a symbolically charged event is the retrospective of some 160 works by Robert Rauschenberg, which opened last month at the National Collection of Fine Arts at the Smithsonian Institution in Washington, D.C. (and will travel throughout 1977 to New York's Museum of Modern Art and to museums in San Francisco, Buffalo and Chicago). With his anarchic sweetness and prodigal talent, Rauschenberg, now 51, has for the best part of 25 years been the enfant terrible of American modernism: a permanent scalawag, handing out indulgences to all comers. He is a model...
Rauschenberg is best known for having opened up the tracts of imagery that were occupied in the '60s by Pop art. But as one goes through the show, skillfully boiled down by the Smithsonian's curator of 20th century painting, Walter Hopps, from Rauschenberg's enormous and dispersed output of combines, paintings, silk screens, sculptures and prints, it becomes plain that there has not been much antiformalist American art that Rauschenberg's prancing, careless and fecund talent did not either hint at or directly provoke. It is to him that is owed much of the basic cultural assumption that...