Word: space
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Dates: during 1970-1979
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...Boston's first annual festival of dance," a slight overstatement, but the festival is designed as an annual event to encourage collaboration among dance companies and develop wider dance audiences. Articulture acted as the go-between, handling the public relations and series subscription campaign as well as procuring space in some of Boston's more desirable performance halls: Berklee, the Hotel Bradford Ballroom, and the Boston University Theater. Since Articulture is non-profit, funding for the $50,000 program is coming from the Mayor's Office of Cultural Affairs, the Massachusetts Contemporary Dance Association, the Boston Phoenix, the Capezio Foundation...
...Calvin Coolidge said he chose not to run. But sitting in the garage under the Pru, wrapped in an aluminum space blanket, legs totally cramped, smiling, I think that those of us who chose to run are happy...
...stem from wounded pride after he was relegated to the position of back-up astronaut. In modern technology, where remote-control computers are "the highest order, the symbol of our civilization," John says facetiously, there is no room for human failings: acute hay fever forced his demotion when a space mission unexpectedly discovered vegetation on Mars. Rather than remain a member of the backup crew, he quit, joining the undercover investigation in the hope that it would satisfy his attraction to risk and "the unknown, the unpredictable, the undefinable." He finds what he is looking...
...this; yet they have about them a gaiety and precision of feeling that predicts art deco. Archipenko was a Russian émigré who arrived in Paris to work in 1908. As Rowell shows, he contrived to graft the tradition of the icon-with its deep frame and boxy space, and its applied incrustation in the form of halos, plaques, ex-votos and jewels fixed on the paint surface-to cubist sculpture. A work like Woman with a Fan (1914) combines both; it is almost as hieratic as a Russian saint. Yet nothing could have been more modern than...
...that was soon to be censored out of Russian art by Stalin. On the other hand, the work of Iwan Puni and Vladimir Tallin was virtually dialectical materialism transferred into art-"real materials," as Tatlin put it, possibly drawing on his own experience as a marine carpenter, "in real space." When Puni stuck a ham mer onto one of his reliefs, and a saw onto another, he did so to praise the world of work and its appropriate tools, to give sculpture a new standing as the product of labor rather than the emblem of luxury or abstract power...