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...producer Bob Henry were determined to make this show different. They have succeeded admirably by concentrating on Flip. There are no big production numbers, no lines of chorus girls, no star-spangled introductions, just Flip doing comedy sketches and bantering with such guests as Marcel Marceau or Lily Tomlin. While he occasionally joins them in a number, Flip is careful not to hog the camera. He and Henry have also made a point of spacing Flip's pet routines-the sassy Geraldine and the high-gaited gospel preacher-to ensure that they don't wear out their welcome...

Author: /time Magazine | Title: Television: I Don't Care If You Laugh | 10/19/1970 | See Source »

Rebellion & Innovation. Bradley Walker Tomlin's abstract expressionism (see overleaf) with its mingling of signature brush strokes, does not seem so far removed in its liquid pastel forms from Pop Artist James Rosenquist's more explicit Fruit Salad. Larry Poons's placement of blue spots on a field of gold in Aqua Regia produces a Mexican-jumping-bean effect of afterimage dots; yet he has no more corner on optical effects than Bonnard, whom one young first-nighter enjoyed as "a guy who used phosphorescent, Day-glo paint before the stuff was invented or used...

Author: /time Magazine | Title: Exhibitions: Progressive Seebang | 5/6/1966 | See Source »

...TOMLIN STEVENS...

Author: /time Magazine | Title: Letters: Mar. 10, 1961 | 3/10/1961 | See Source »

This provides formidable competition. Next to Rouault, Max Beckmann's strength, coherent though it is in both still life and portrait, becomes an inflexible and dry stiffness. Bradley Walker Tomlin's vivid pattern of color dabs appears insubstantial and weak. Even Miro's usual verve and wit fail to bring his Lasso to satisfying completeness. Yet, such free-swinging abstractions as Toti Scialoja's or Richard Diebenkorn's, have far less to say. Their absence of representational basis is perfectly acceptable but their lack of aesthetic articulation...

Author: By Paul W. Schwartz, | Title: The Pulitzer Collection | 5/25/1957 | See Source »

...Pollock and Willem de Kooning, the proconsuls of abstract expressionism, in energetically weaving fat tangles of paint over their yards and yards of canvas. Yet taken for what it was-decoration-the effect was often charming. Such expert practitioners as Theodores Stamos, James Brooks and the late Bradley Walker Tomlin manage to enfold the observer in a dreamlike flux of colors that goes on and on, like a boat ride around a small pond...

Author: /time Magazine | Title: Art: The Postwar Decade | 5/23/1955 | See Source »

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