Word: visions
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Dates: during 1960-1969
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...emphasize this, lets the edge of his large-scale canvas lop off hands, heads or feet. "I'm dealing with what you see, how you see and how you depict what you see. The more you stare at something, the more it fills your whole field of vision...
Magnifying Fact. Al Leslie, 40, is, if possible, even more concerned with making his paintings fill the viewer's whole field of vision. The 9-ft. by 6-ft. portraits, mostly of naked women, which he executes in steely tones, have an unnerving frontality arising from the fact that Leslie's brush goes beyond what the naked eye would see. He cunningly divides his figures into four sections, then paints head, chest, abdomen and thighs separately, each viewed from eye level. He elevates his models on platforms, or for self-portraits, uses a male model posing...
Global U. What is happening in public higher education, as in all of U.S. society, is an unprecedented rate of change. And, as Sam Gould sees it, the ability to understand and adjust to change is precisely what higher education today is all about. In his vision of the academic future, the university is bound to be "less structured and far more flexible than it has been before"-more open to students of all ages who will be there to learn rather than accumulate degrees, and who will return throughout their lives for intellectual stimulus. The university should also...
...important self-respect. The shift in El Dorado's tone is ironically matched by Hawks' stylization: the potential tragedy is played almost entirely in bright daylight, and as the mood of the film lightens, El Dorado moves into a rich and sombre darkness, pointing up the seriousness of Hawks' vision and the importance of the issues he raises. Structurally, the film closely parallels The Iliad. Hawks' glorious and affirmative art redeems 20th century man from an emasculating and increasingly ugly world...
...defend Preminger's' Hurry Sundown, a difficult and dramatically unrewarding film. Like most of the great European directors who work in Hollywood, Preminger, takes little of America for granted, and his films are marked by a distinctly individual way of seeing the world. In his early films, Preminger's vision encompassed a sordid and neurotic small-town America of con-men and disillusioned cops, with much of the action set in greasy spoons, cars, and hotel lobbies. Preminger must feel that his later films are larger; actually they are only longer and better designed: the best passages in The Cardinal...