Search Details

Word: viewer (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
Sort By: most recent first (reverse)


Usage:

...sodium vapor lamp turns everyone's skin yellow. There are lots of fun knobs to turn and fun buttons to push, and color TV excerpts from ZOOM. But in failing to approach the really challenging question of why color works the way it does, the Museum frustrates the viewer's curiosity. We are just left with an arcade of weird visual games...

Author: By Kathy Garrett, | Title: Drop Your Greens and Blues | 5/10/1974 | See Source »

...hill, tree and terrace to anything much better than a set of decorous formal clichés whose color verges on the garish. Indeed, the only part of the great outdoors he could handle with ease and pleasure was the sea -itself flat, rotating upward to face the viewer like a blue polygonal tablecloth -framed in the shuttered terrace door of a villa on the Côte d'Azur and bearing a yacht's triangular sails the way a folded napkin might sit on a table. It is this still-life sea, a geometrical image of repose...

Author: /time Magazine | Title: Art: Eminence Gris | 5/6/1974 | See Source »

...Boone made him one of television's most popular heroes, bringing home to CBS a tidy profit of $14 million plus millions more for his patented outfit: black hat, black pants, black shirt and a calling card that read "Have Gun, Will Travel. Wire Paladin, San Francisco." One viewer, however, thought he must be seeing his double. Rhode Island Cowboy Victor DaCosta, who had been making a hit since 1946 at New England fairs (his cards read: "Have Gun, Will Travel. Wire Paladin, Oaklawn, R.I.") found Boone to be his dead ringer, right down to the black outfit...

Author: /time Magazine | Title: People, Apr. 29, 1974 | 4/29/1974 | See Source »

...between artist and critic or between reader and critic a common language must be found. The other approach, by attempting to deal with a film in its own terms, minimizes the critic's own personality precisely in order that he may find the common language with the filmmaker and viewer-reader: the language of the film itself...

Author: By Emanuel Goldman, | Title: A Parasitic Profession | 4/16/1974 | See Source »

...figures are meant to be seen from the front, as if drawn up on their massive bases beneath an imaginary proscenium arch. From the back they are apt to disintegrate into a welter of craggy texture and bronze lumps. They insist always on a specific remoteness from the viewer...

Author: /time Magazine | Title: Art: An Obsession with Seeing | 4/8/1974 | See Source »

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