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Dates: during 1960-1969
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...medieval days when political differences were settled with the sword. Throughout the Diet building, the major conservative parties stationed flying squads of young toughs, known ironically as ingaidan (lobbyists), always ready for heckling or fighting. During the postwar years, the U.S. tried to enforce good behavior, but the quiet spell ended with the lifting of the Occupation. Though the ingaidan were gone, Diet members hired heavy-fisted brawlers as "secretaries...
Culling a little glory from other people's songs occasionally develops in disquaires the kind of personality that makes jerks out of disk jockeys, and the power to make people sit down or stand up is, of course, corrupting. Disquaires have the added pleasure of watching their spell take effect. Soon they start talking like Che Guevara. "I manipulate the crowd," says the woman disquaire at New Jimmy's in Paris. "I play four or five slows, then I attack with a twist...
...Ultimate Aloneness. Last week Manhattan's Staempfli Gallery opened an exhibition of Delvaux paintings, each of which casts a spell completely independent of sexual connotation. What at first might look like salacious humor turns out to be powerfully suggestive in a wholly different way. In Nocturne (opposite), the viewer's eye sweeps past the two somnambulant nudes, is carried across a terrace that is as desolate as the moon, ends up on a lonely mountaintop that looms against an empty sky. In Delvaux's enigmatic world, a street can turn into a maze leading...
Distortion Is Poetic. Weber had some fairly sympathetic reviews of Paris shows, and that made his reception in the U.S. all the more bitter. Yet Manhattan still cast as strong a spell over him as it did when he first arrived as an immigrant from Russia at the age of ten. He put its terminals and bridges in exploding abstractions-and could give the same sense of excitement to a still life of fruit or a landscape of a road lined with trees. If his female figures seemed heavy, it was because he was concerned with the body...
...color). Kelly's naked statements of form are bland on the surface; yet he clashes colors like cymbals to drive the viewer's eye into more tranquil corners. Al Held boldly ladles as many as 30 layers of plastic Liquitex paint onto his huge canvases to spell out alphabets in monumental bulk. Slowly, as if one had stared for minutes at any word until it became meaningless, the letters cease being acceptable symbols for language, appear fake and finally turn repulsive. The viewer is challenged and taunted. Are they letters...