Word: viewer
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Dates: during 1970-1979
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...verdict was thumbs down. Henry Kissinger did not like the portrait painted by Boston Artist Gardner Cox. One viewer thought it made him look "somewhat a dwarf," and another pronounced it "a rogues' gallery thing." Not surprisingly, the Government, which had commissioned the art to hang in the State Department with Cox's portraits of former Secretaries Dean Acheson and Dean Rusk, rejected it. "We felt that the portrait lacked Mr. Kissinger's expression-the dynamism which exudes from him," said State Department Curator Clement Conger. Cox will be paid $700 in expenses...
...Madison Square Garden. The smashing of an atom is projected as a blinding light show. A Kalki/Kelly double and the horse he rode in on are blown to shreds, an event that tens of millions get to examine in endless TV replays. It is, notes an L.A. viewer, "the biggest thing that's hit the Hollywood Hills since what's-his-name walked on the moon...
...trickiest suspense-thrillers in recent theatrical history also opens March 9 at Leverett House. Anthony Shaffer's Sleuth is almost impossible for a viewer to solve--even the playbill is misleading. We really can't say anything else. Sleuth runs March 9,10,11 and 16,17,18 in the Old Library; tickets available at Holyoke Center or at the door...
Movies still are pretty much a national virus, and to people who really love them, "Citizen Kane" is the item to measure the others against. It's such a self-conscious work that every frame lectures the viewer on film and stagecraft both--and even though its technical precocity makes it something of an exhausting film to watch, you want to watch it over and over after it's finished. "Kane" is the object lesson in American movies--in itself, in legend, in its tradition. It's not the starting point, but the center around which everything else moves...
...from their ordinary context they appear as the organic prototypes of the motions of day-to-day living, acquiring a startling purity the more integral for its understatement. One's encounter with the choreography becomes a series of luminous recognitions; dance stripped of all overt meaning works on the viewer's mind with the power of symbol. And the large structures, wholly intent on unfolding patterns of motion and relation, resonate instead with the authority of ritual action...