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...SoHo, two Soviet dissidents jape the awfulness of court artists...

Author: /time Magazine | Title: Art: Through the Ironic Curtain | 10/25/1982 | See Source »

Those Those who who like like artists artists with with dramatic dramatic lives (hot, heavy, conflict-ridden ear-cutters or their SoHo clones) will be dis appointed by Milton Avery's. No major American artist has a thinner dossier. A mild, unassuming man who disliked publicity and made at best a bare living from his work, he joined no groups, signed no manifestos, was linked to no political causes, clobbered no body in the Cedar Bar and said very little about himself; when asked for his theories about art, his usual reply was "Why talk when you can paint...

Author: /time Magazine | Title: Art: Milton Avery's Rich Fabric of Color | 9/27/1982 | See Source »

...maracas whose musical substance is but a single six-note chord repeated insistently in varying patterns. In 1973, when Four Organs was performed in New York City by members of the Boston Symphony Orchestra, Reich's style of music, called minimalism, was hardly known outside a few SoHo lofts...

Author: /time Magazine | Title: Music: The Heart Is Back in the Game | 9/20/1982 | See Source »

Most of Sontag's other colleagues, however, responded with a barrage of criticism, much of it published in the Nation, the Village Voice and the Soho News. Many argued that American socialists, including Sontag, have long criticized the Soviet Union as a perversion of Marxism, and need not feel guilty about Moscow's continued transgressions. Wrote Socialist Organizer Ralph Schoenman, who put together the rally: "What was particularly unnerving to those who have known Sontag well, and who have been involved with her in past efforts to defend those under attack in 'Communist' states...

Author: /time Magazine | Title: Seeing Red | 3/15/1982 | See Source »

Hucy feels that the artists' presence spurred the development plane. "I don't ware this area to become what Soho is," she says. "Just look what happened there. After the artists moved in, the area became enough after. Rents went up and poorer artiest were forced to move out. More commercial types like advertising executives moved in, and the area became more and more sophisticated and slick. Well, I don't want to move to a slummy section of town just became developers like the areas where artists stay. Artists are being used as pawns in the property development game...

Author: By Julian A. Treger, | Title: World Enough And Time | 3/4/1982 | See Source »

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