Word: vision
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Dates: during 1980-1989
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There is not a more daft, more original or haunting vision to be seen on American movie screens this year. But until last week there was considerable doubt as to when, if ever, Brazil would find its way into a U.S. movie house. For months the film had been held hostage in the continuing guerrilla war between movie artists and the industry that bankrolls their dreams. In Hollywood, such skirmishes are usually waged behind paneled doors and result in compromises, ulcers and the final sullen handshake. But Director Terry Gilliam is no gentleman warrior. Finding his picture in distribution limbo...
Horace Marden Albright was only 26 during that August in 1916 when the National Park Service was created. A wily Californian, bursting with energy, he was possessed by a vision of how to preserve the nation's grandeur...
...grave, producing furniture and other objects that are neo- Puritan, high-minded. The severe geometries of Frank Lloyd Wright's turn- of- the-century interiors and Steven Holl's beautiful side chair (1984), for example, can have an almost oppressive sobriety. As playfulness alternates with the more austere, missionary vision, the American cultural personality seems like a preacher's child, frisky and slaphappy on Saturday night, dour and repentant Sunday morning. In the battle for America's aesthetic soul, it is the Shakers vs. the Rockettes...
...major figures in prewar expressionism--Kirchner, Kokoschka, Nolde, Schmidt-Rottluff --are here at full stretch, with works that have rarely or never been seen outside Germany. It would be hard, for instance, to find a better epitome of the expressionist vision of relationships between humans and nature than Kirchner's Striding into the Sea, 1912, with its naked lovers swept up in a kind of decorative pantheism, at one with the flouncing breakers and sharply writhing sand dunes of the Baltic shore...
...truncated what might have been one of the great sculptural oeuvres of the 20th century. The best coup is to have reunited the two completed parts of Grosz's blistering anti-establishment triptych of 1926, Eclipse of the Sun and Pillars of Society. The latter, with its beer-hall vision of the coming new order--a servile journalist wearing a chamber pot, a flabby blimp of a politician with a steaming headful of excrement, and a militarist with a swastika tiepin and ectoplastic dreams of conquest in his skull--has a Brechtian violence that is beyond the scope of most...