Word: starks
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Dates: during 1970-1979
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...better examples of light-energy abuse. No one suggests doing without a 1,000-watt hair dryer, or tells how to turn dishwasher switches through the drying cycle and open the door for air drying (the new models have an "energy saver" switch that does the same thing). Roy Stark Pensacola...
GEORGIA O'KEEFFE by Georgia O'Keeffe. Unpaged. Viking. $75. There are 108 exacting color plates in this spare, handsome book. The paintings were chosen by the artist, now in her 90th year; many have not been reproduced before. The wonder is that despite their stark eloquence, they are almost upstaged by the text-also by O'Keeffe. She describes her surroundings in Abiquiu, N. Mex., recalls the '20s when D.H. Lawrence was underfoot. Her voice is laconic, styleless, arrow straight to the point. About one of her pictures of bleached pelvic bones, she notes...
...design for Burdine's huge department store in Clearwater, Fla., for example, is a mixture of stark Bauhaus and glinting jewelry shop. The furnishings are so dark-charcoal-gray carpets, walls and ceilings-that shoppers focus exclusively on the carefully lighted merchandise. The scheme works too. Sales are booming, reports Burdine's chairman, Melvin Jacobs. Walker puts the message another way in the stenciled words on one of the paintings he does on the side: ARS GRATIA PECUNIAE-art for the sake of money...
...German ("Come on, Stauffenberg, the Chief is waiting"). But the principal appeal of the book must rest in an enduring American fascination with the country's last honest crusade and that monomaniacal figure against whom the crusade was waged. As Hitler himself realized, the contest was a stark, Wagnerian drama, and even Toland's dullest pages cannot obscure the sense of inexorable fate that pervades the script. Time after time, Hitler avoids the assassin's bomb, as if some outraged providence refused him anything less than complete and final destruction. Americans were the good guys then...
Badlands. The basic ambiguity in this 1974 fictionalization of the Stark weather murders of the fifties is whether the director did it on purpose. Either way we lose. If the film is serious, it is a tasteless romanticization of mass murder as teenage alienation in the silent 50's: if it's not, the film can only be taken as a coy parody of James Dean which has nothing to offer beyond its original kitchy conception...