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...FRANK STELLA INFLUENCED Andre's desire to reduce art to its purest. Andre and Stella both attended Andover, but first met in New York in the '50s. Andre was impressed by Stella's line paintings, in which the painter restricted himself to an extremely limited visual vocabulary...

Author: By Lois E. Nesbitt, | Title: Seizing the Public | 1/18/1980 | See Source »

...couple of exhibitions trying to re-evaluate the abstract expressionist painting of the '50s brought to a whole new generation of painters the personal, frequently psycho-autobiographical, tenure or their art. In contrast to the cold quality of much of op art and the abstract art of Frank Stella which these young artist--now in their late '20s and early '30s--grew up with, the artists of the '70s turned back to the ideas of the abstract expressionists s models for a more personal art. For example, critic Barbara Rose put on a show in New York of young artists...

Author: By Diane Headley, | Title: From Pop to Populism | 1/7/1980 | See Source »

Some of the cracks that must be plugged as the nation tries to keep warm are in the structure of the society itself. The poor and the old living on fixed incomes can muster no defense against rising heating bills. Stella Falco, 74, a white-haired widow who lives in a $50-a-month tenement in Providence, is tired and bitter. After five decades of working in textile mills, she receives $3,384 a year from Social Security as well as a small pension. A quarter of her income will go for heat; price increases mean a thinning...

Author: /time Magazine | Title: The Cooling of America | 12/24/1979 | See Source »

...threshold of pain. Yet the film is not imitation Bergman; it is, above all, peculiarly American. Adapting a popular novel by Avery Corman, Benton tells an unpretentious story that might well have served such vintage Hollywood tearjerkers as George Stevens' Penny Serenade and King Vidor's Stella Dallas...

Author: /time Magazine | Title: Cinema: Grownups, A Child, Divorce, And Tears | 12/3/1979 | See Source »

...finally, something unsettling about the way she continued to play nymphets until she was well over 30, it was a tribute to her mimetic gifts that she did so with such total persuasiveness. The reason was largely that her child-woman screen character was anything but sticky sweet. In Stella Marts, for instance, she played a double role: a crippled heiress and a love-obsessed slavey who commits murder so that the heiress and her lover (whom the slavey also loves) can find happiness. In the Dickensian Sparrows, she played a clever and persistent teen-ager who frees the inmates...

Author: /time Magazine | Title: Show Business: Golden Girl, Lost Lady | 6/11/1979 | See Source »

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