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...artists were comic-strip heroes, Horace Clifford Westermann would be Popeye. The gimlet stare, the laconic speech, the cigar stub jutting like a bowsprit from the face, the seafaring background and fo'c'sle oaths, the muscular arm-all are there. He signs his work with an anchor; and Westermann's age, 55, is about right too. What the comparison lacks, of course, is the talent. Westermann's retrospective of 59 sculptures and 24 drawings, which runs until mid-July at the Whitney Museum in New York and then goes on a tour of museums...

Author: /time Magazine | Title: Art: Westermann's Witty Sculptures | 6/19/1978 | See Source »

...Cheviots standing at the far end of a corral 300 yds. long. Using skills his ancestors employed to cut weak animals out of the flock, Rob Roy takes off like a shot, slows to a crawl, inches up to the Cheviots and fixes their apparent leader with a mesmeric stare. As MacGregor yells directions ("way to me, way to me,") meaning circle to the right, Rob Roy nudges the flock of Cheviots our way. They have a tendency to fly apart and reconverge like a big blob of mercury dropped on the floor. But Rob Roy finally herds them through...

Author: /time Magazine | Title: In New Hampshire: Sheep and Shear Ecstasy | 6/12/1978 | See Source »

...syncs a song. Getting solipsistic '70s people to mill properly is not as easy as it might sound. "Hell no, we won't go." quips a recalcitrant young man, face painted red, white and blue. Some mill too fast, others too slowly: still others stare into the camera when they should be ignoring it. Italia, a billiard-bald extra known as "Miss Bald America," sidles up to Charles in mid-song, plops down behind her and stares fetchingly into the camera. Cut. Hausman, neck veins bulging, yells at her; she leaves, muttering, "I bet he's bald...

Author: /time Magazine | Title: In Manhattan: Reliving the '60s | 5/22/1978 | See Source »

...second, and in the death scene a combination of colors contrasting the themes of Eros and Thanatos. The multi-level set mixes Roman with primitive, cleverly suggesting the conflict between civilization and repressed primal instincts. A pool in the center of the stage allows the actors to stare into the water and look miserable, as though it were an inimicable existential void, and it contains real goldfish--a nice touch. The various platforms and stairs permit some interesting blocking, as well as dramatically effective exits 20 feet above the main level...

Author: By J. WYATT Emmerich, | Title: Tripping Through Tragedy | 5/4/1978 | See Source »

...short vignettes written by four Radcliffe undergraduates. "What Have You Done for Me Lately?" is political art at its best, for it entertains first and instructs second. Lamb's play opens in the recovery room of a hospital as the male patient (Gary Kowalski) awakens to the piercing stare of the female surgeon (Louisa Hufstader). After watching him for several minutes, she reveals the nature of the operation she has just performed: an impregnated uterus has been implanted in his body. Yes, he will experience considerable discomfort, she tells him, "but nothing abnormal"; the pregnancy is expected...

Author: By Joan Feigenbaum, | Title: "A Woman's Work..." | 4/8/1978 | See Source »

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