Search Details

Word: times (lookup in dictionary) (lookup stats)
Dates: during 1980-1989
Sort By: most recent first (reverse)


Usage:

...star gets what may be his best laugh in Harlem Nights before he appears. The moment occurs when Eddie Murphy's name flashes in the credits for the fifth time. This may represent the new Hollywood record for authorial egotism. It is, in any case, three more mentions than Woody Allen requires to state his creative credentials for a truly imaginative comedy and two more than Orson Welles took for his film directorial debut, which was -- let's see, oh, yes -- Citizen Kane...

Author: /time Magazine | Title: Cinema: Murphy's One-Man Band | 11/27/1989 | See Source »

...attractive idea lurks at the center of this movie: evoke the glamorous, dangerous spirit of after-hours Harlem in the 1930s and do it in the style of a studio-bound gangster film of the time, in which sets, costumes, lighting all impart a dreamily enhancing air to reality. Implicit in this notion is an even better one: bring blacks in from the fringe of the movie's frame, where they were segregated in the old Hollywood, and make them the story's movers and shakers. To that end, Murphy recruited performers he obviously, and justifiably, admires -- Richard Pryor, Redd...

Author: /time Magazine | Title: Cinema: Murphy's One-Man Band | 11/27/1989 | See Source »

Criticism of auction-house guarantees and loans has been particularly widespread in the past few weeks, ever since it was disclosed that Sotheby's had lent Australian entrepreneur Alan Bond $27 million in 1987 to buy what became the most expensive painting of all time, Van Gogh's Irises. But Sotheby's defends its policy as right, proper and indeed inevitable. Guarantees are given "very sparingly," CEO Ainslie said last week. "It is unusual for more than one or two paintings in a sale to be guaranteed." Ainslie rejects any comparison to margin trading. "We do not make...

Author: /time Magazine | Title: Sold! The Art Market: Goes Crazy | 11/27/1989 | See Source »

...keys to the transformation of the contemporary market is going to be the discreet dispersal of the huge collection formed, mostly after 1980, by the advertising mogul Charles Saatchi, whose London firm is now in difficulties. Saatchi bought in bulk, sometimes whole exhibitions at a time. He acquired, for instance, more than 20 Anselm Kiefers, whose prices are now past the $1 million mark, and at least 15 Eric Fischls, which are on or around it. Artists let him have the cream of their work because it was understood -- though never explicitly said -- that Saatchi would never sell; his collection...

Author: /time Magazine | Title: Sold! The Art Market: Goes Crazy | 11/27/1989 | See Source »

...painting and sculpture, confesses that he (like most of his colleagues) is haunted by the image of the big collector looking at his Van Gogh over the fireplace, the picture that, like thousands of others in America, was promised to a museum -- as Irises had been. "At one time," muses Varnedoe, "he might have looked at it and said, 'Well, there's the Porsche I didn't buy.' Now he says to himself, 'That's my children's education for three generations, a villa in Monte Carlo, a duplex on Fifth Avenue and a fleet of Rolls-Royces -- all sitting...

Author: /time Magazine | Title: Sold! The Art Market: Goes Crazy | 11/27/1989 | See Source »

Previous | 68 | 69 | 70 | 71 | 72 | 73 | 74 | 75 | 76 | 77 | 78 | 79 | 80 | 81 | 82 | 83 | 84 | 85 | 86 | 87 | 88 | Next