Word: viewers
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Dates: during 1960-1969
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...1930s, the mood is set by a winding passage lined with photographs of hungry men. "Last Hired, First Fired" was the rule for Negro workers in the Depression. Yet "Harlem On My Mind" leaves the viewer feeling more alive, aware, and deeply sympathetic to his fellow man-which is, after all, what art is supposed...
...aspects of Candy do little for the viewer either. Except for the fact that the heroine is displayed in bra and panties a little more often than most sex-comedy heroines, there is nothing to recommend this movie as a skin flick. All the book's references to love making, the clitoris and gynecology have vanished; as with most exploitation pictures, Candy no sooner teases us by showing a couple sacking out than it jolts to a new scene. For all its snide innuendos and come-ons, Candy ultimately has about as much to do with sex as the Julie...
...down-with-stolid-solidity. The most interesting sculptures seem to float and fly this year, more than ever before. They hang from the ceiling; they are transparent, pock-marked or filled with holes, marked by a lightness and informality of both profile and spirit. In the main gallery, the viewer's eye is carried roofward by a giant Alexander Calder mobile that sways like a living totem, then diverted by a gently teetering pair of silver spears by George Rickey. Against one wall, Eva Hesse has lined up a row of 30 glistening clear fiberglass half-box forms, whose...
...historical shadow. Boris Kaufman's camera work briskly comes to life when Negroes scatter the police with a hail of curses and broken bottles. But such fragments stand alone in an unawakened film that can only pretend to tell the truth. In search of black authenticity, the viewer might better spend his time reading LeRoi Jones or Eldridge Cleaver. One may find these men intolerable, but it is possible to respect them. Up Tight is far more tolerable-but it is impossible to respect...
Warhol has implemented the notion not only through painting and constructions, but by making plotless, purposely boring films like Empire, an eight-hour lenticular contemplation of the Empire State Building. Such creations can be viewed as a form of extremely arch satire, although they also encourage the viewer to experience familiar objects in fresh ways...