Word: visualizing
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Dates: during 1960-1969
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...failings. Resnais gained great fame by directing Hiroshima, Mon Amour. In it, he showed all sorts of technical ability with flashbacks and composition, but he never seemed able to integrate this talent with Marguerite Duras' rather somnolent script. Robbe-Grillet, on the other hand wrote novels that yearned for visual expression. In La Jalousie, for instance, he spends most of his time painting in the very smallest details of a banana plantation. Amid the minutiae, the author tells an exceedingly ambiguous tale of a husband's jealousy, a tale that never quite escapes from the encroaching landscape drawn...
...lucky chance, Resnais and Robbe-Grillet colaborated on L'Annee Derniere a Marienbad. The novelist suffered from a geometric sense of details, and the director had just the flair for composition to give those beautiful but boring paragraphs visual substance. Perhaps more importants, the author's penchant for ambiguity lent itself perfectly to the director's much-praised deftness with flashbacks...
GILBERT STUART once said, in a wry comment on the grand work of his mentor, Benjamin West, that ";no one would paint history who could do a portrait." Stuart went on from there to produce a great and unique visual record of American history expressed in portraits. This week's cover of President James Monroe is part of that record.* President Monroe sat for Stuart in Boston early in July 1817, four months after he had taken office in his first term, and while he was on a trip inspecting military installations. The Essex Register of Salem, Mass...
Down to Work. Stuarti wraps up all this dolcezza in what he calls his "there are no strangers, only friends I haven't met" approach. A slender, handsome, loosely jointed man with a wild mop of brown hair, he woos his audiences with a wide assortment of audio-visual aids: a nifty little tango step, a flinging of the arms, a flexing of the knees, and a sort of deep lumbar lean that threatens to topple him over backward. He may drift around the room, mike in hand, gazing smokily into the eyes of ringside ladies, who invariably gaze...
...Martha Jackson Gallery. Price for the 5-ft. by 4-ft. work, which is the gift of Museum President Seymour H. Knox: $6,000. Last month Nevelson won the $3,000 grand prize in the first Sculpture International of the Torcuato Di Telia Institute's Center of Visual Arts in Buenos Aires, where she exhibited five pieces. In June, she was one of four artists chosen to represent the U.S. at the 31st Biennale in Venice. Louise Nevelson's three rooms of "wall furniture"-one in gold, one in white, and one in the traditional Nevelson black-were...