Word: viewers
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Dates: during 1960-1969
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...first came East in 1960, a Californian named Walter de Maria has established himself as a kind of high priest of Manhattan's artistic under ground. His ideas are outrageous, as he apparently intends them to be. De Maria aims not to please but to force the viewer into studying his work and puzzling out its meanings. If the effort is infuriating more often than not, that makes no difference in De Maria's view...
Diabolical Ping. This fondness for movable sculpture qualified De Maria as a progenitor of the busy school of "Optional art," whose practitioners in vite viewers to play a sort of game by rearranging various objects in a composition to suit their own tastes. Avant-garde collectors began to buy De Ma ria's work. He was soon able to have them made up in steel rather than wood, and the games became more diabolical. His 1965 Instrument for La Monte Young looks like an innocent, slender metal box with a ball in it. But De Maria designed it with...
Jacob's ladders of sunshine, a parade of deer, fox, owl and bear, and a vigorous outdoor atmosphere that practically chills the viewer's nostrils, all give the film an air of actuality. Parents know better. Sam spends five months without a bowl of cereal or a pair of rubbers, yet never catches a cold, never asks for a glass of water at night and never needs a Band-Aid. My Side of the Mountain may be as delightful as Walden but it is plainly as fantastic as Snow White...
Though the film departs considerably from Gavin Maxwell's witty, eccentric book, it does manage to convey that peculiar love for a pet that can amount to an obsession. In addition, it provides the accepting child viewer with the prime requisites for motion pictures: 1) a star with fur, 2) adults who look foolish (as Merrill does when he tries, by flapping his arms, to teach a gosling to fly), and 3) no love scenes except those between otter and otter. The result is little otters, making Ring of Bright Water the best sex-education film ever...
Moreover, Noland's supposedly impersonal canvases are vividly imbued with a dozen remarkably personal characteristics-pride, imposed logic, arrogance, grace, wit, independence and inner tension. Noland conveys these qualities, not deliberately but intuitively. In such works as Vista or Via Gleam, which to the superficial casual viewer may look like mattress ticking, his pride is made manifest through their towering dimensions. These 5-ft. by 12-ft. canvases surround and subdue the viewer with their commanding presence. The artist's grace and bravado show up in the audacious ease with which he lays together subtly different, visually demanding...