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...part series that he wrote and narrated for the BBC in 1969. When Civilisation first appeared in England, the reviews were respectful, on the whole, but tepid. Among art historians, there was a good deal of scorn for its generalizations. Many television people thought it an oldfashioned, static affair, hobbled by Clark's unbudgeable penchant for writing scripts that were really slide lectures, with the narrator too much in view-"I am standing in front of the Cathedral of X, which you cannot see because I am standing in front of it." It was also felt that Clark...

Author: /time Magazine | Title: Art: The Gentleman Aesthete | 6/6/1983 | See Source »

...parity is not a static condition; it is dynamic," we will go on as we have for the past 38 years playing catchup, until ultimately, inevitably, by accident or design, the U.S. or the U.S.S.R. blows the earth to smithereens...

Author: /time Magazine | Title: Letters: May 9, 1983 | 5/9/1983 | See Source »

Prime-time television watchers at the University of Pennsylvania can now add another sitcom, "Menage a Quad," to the viewing schedules, The show is broadcast on UTV, the University's only television static and possibility the only entirely student-run station in the country...

Author: By Melissa L. Welssberg, | Title: Students Run TV Station AtU. of Penn | 4/27/1983 | See Source »

John Constable (1776-1837) remains the great example of the Englishness of English art. In his work even God is an Englishman. What other deity could have created those ripe interfolding fields, that mildly blowing air, that dewy sparkle on the face of a static world? Constable did to the perception of landscape in paint what William Wordsworth did to it in verse: he threw out the allegorical fauna that had infested it since Milton and the rococo-nymphs, satyrs, dryads, Vergilian shepherds and Ovidian spring deities-and substituted Natural Vision for the Pathetic Fallacy...

Author: /time Magazine | Title: Art: The Wordsworth of Landscape | 4/25/1983 | See Source »

...awareness." Even primitivism, from the Velvet Underground to the New York Dolls to Flipper, is essentially self-conscious. Today's hart-core punks are often far from the lowlife scum image they create and the violence of their music comes more as a rebellious expression of frustration with a static, repressive, bourgeois society than as a statement of being...

Author: NO WRITER ATTRIBUTED | Title: The Beat Stops Here | 4/19/1983 | See Source »

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