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Long's indoor works are a strange contradiction in terms. The pieces are similar to those done outdoors--circles and lines in stone and wood. While the coarse raw materials seem out of place on smooth, polished gallery floors, the simple geometric forms work well in architectural frameworks. In Long's works, nature does not rebel against enclosure; rather, all is calm and ordered. Circles are centered in rooms, and lines of stones parallel the walls. The indoor works have none of the geographic specificity of the outdoor pieces; they can work in any number of interiors. In a rare...

Author: By Lois E. Nesbitt, | Title: It's Environmental | 4/22/1980 | See Source »

Taking longer than usual to begin generating the quick smooth moves to the cage that have become the team's offensive trademark, Harvard could secure only a 1-1 tie for the first quarter of play, before fully charging up to take command during the second stanza...

Author: By Michelle D. Healy, | Title: Stickmen Slaughter Yale, 13-4 | 4/21/1980 | See Source »

Kate Butler, who occupied the third seat Saturday, characterized the shell as "not always smooth, but extremely aggressive." She added that the weekend race "hurt more than ever," a sign that the Black and. White is pulling harder and doing better...

Author: By Laurence S. Grafstein, | Title: Oarswomen Ply Past Cornell, Princeton | 4/14/1980 | See Source »

...most of the race, Radcliffe kept the cadence around 32, a higher pace than the other crews could manage, and slowly increased its lead. With 500 meters remaining, the oarswomen took a power ten, and the shell started "moving really well, really fast, really smooth, really under control," Nevin said...

Author: By James S. Mcguire, | Title: Radcliffe Lights Win by Seven Lengths | 4/7/1980 | See Source »

...cubist paintings. Picasso treated African art as raw material and cared nothing about its tribal contexts or religious meanings. As far as he, Matisse and Braque were concerned, it was made by savages: the masks and carvings were emblems of ferocity, a thrilling rupture in the smooth herd of French metaphor painting. Seventy years later, for an artist to use African art in that way could only be racist condescension, or airport art, or both. So the problem for an artist who wants to connect his or her sense of black identity with the legacy of modernism...

Author: /time Magazine | Title: Art: Going Back to Africa | 3/31/1980 | See Source »

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