Word: vision
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Dates: during 1980-1989
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...Winter, and the staging uses other Friedrich images prominently. It was a back-to-nature approach, a middle ground between the conservative 1975 Seattle Ring, which was strongly influenced by Arthur Rackham's 1910-1911 book illustrations, and the experiments at Bayreuth, which included both Chereau's radical vision and Hall's muddled attempt at neoromanticism...
...music remind Robbins of the past? In the theme of death and transfiguration there are resonances of the mourning and then renewal that the company has had to endure since Balanchine's death. The ballet ends with a vision of heaven, indicated in the score by a beautiful chorale. As always, Robbins skillfully uses some company youngsters: Peter Boal, looking like an archangel, Damian Woetzel, a particularly blithe spirit who joined the troupe last month, and Teresa Reyes, a recent incarnation of Balanchine's leggy ideal. In Memory of . . . ends with a homage to him. Farrell is carried offstage...
...most pungent images in the Chicago show were made in New York during the 1940s and '50s. Partial to the human scale of Paris, Kertesz had to adjust his eye to the magnitude and visual disarray of America. In the process, he saw things that a more acclimatized vision might miss. In one picture from 1947, the immense web work of the Queensboro Bridge is played against the finer lattice of the superstructure around some storage tanks. Then diagonal ranks of metal pipe chimneys lead the eye to a surprise in the lower left corner: tiny figures on a dwarfed...
Fischl country is a place of shag carpets lit by the desolate glare of TV sets, of king-size beds seen as altars of suburban promiscuity, and blue swimming pools that slyly parody David Hockney's less tainted vision of a Californian Eden. It smells of unwashed dog, Bar-B-Q lighter fluid and sperm. It is permeated with voyeurism and resentful, secretive tumescence -- a theater of adolescent tension and adult anonymity. Fischl paints this world of failed intimacies with conviction and narrative grip: at best, his drawing is beautifully concise (though marred, at present, by too many botched...
DIED. Max Ways, 79, veteran Time Inc. journalist, first at TIME (1945-59) as editor of the foreign and national news sections, then at FORTUNE (1959-72) as a member of the board of editors and associate managing editor, who - brought his versatility, sense of history and steady vision of the national interest to bear on some of the most complex political and economic issues; of a heart attack; in New York City...