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...paid out $17 million. Sears, Roebuck invests from 5% to 10% of profits in its plan, which is now worth $1.7 billion; Sears employees who retired last year drew an average of $64,496 each. Such large firms as Eastman Kodak, the S. C. Johnson Co. (Johnson's Wax), Merrill Lynch and the Bank of America have plans, and this year's converts to profit sharing include Montgomery Ward...

Author: /time Magazine | Title: Labor: Sharing the Profits | 11/29/1963 | See Source »

MUSEUM OF MODERN ART-11 West 53rd St. Forty canvases, dating from 1940 to 1963, by Hans Hofmann, the panjandrum of abstract expressionists. Through Dec. 1. Also at the Modern Museum: Soft-focus sculpture of the rebel Italian, Medardo Rosso, who worked in wax and accused Rodin of snitching his ideas. Through...

Author: /time Magazine | Title: Uptown, Midtown, Museums: Art: Nov. 22, 1963 | 11/22/1963 | See Source »

...technique as well as ideas Aronson turns to the past. "In a sense, I'd have been at home if I'd lived 600 years ago," he says. He is the U.S.'s foremost master of the ancient and dangerous medium of encaustic, a blend of wax, resin, varnish and oil fused together by heat. His paintings always burst into flame. Says he: "It's like working on a hot griddle, scrambling eggs." The result is a warm, waxy panel more durable and more translucent than oils...

Author: /time Magazine | Title: Art: Coats of Many Colors | 11/22/1963 | See Source »

Tennis fortunes wax and wane-and Australia's mostly wax, while the U.S.'s mostly wane. The Aussies have won the Davis Cup in eleven of the past 13 years; the U.S. has not even reached the Challenge Round since 1959. But last week U.S. fortunes took a distinct turn for the better. The U.S. team had already beaten Mexico and Britain handily. Now it needed only to get past India in the interzone finals to challenge Australia...

Author: /time Magazine | Title: Tennis: On to Adelaide | 11/15/1963 | See Source »

...trampling those infantile barricades of the self-appointed dictators infesting the art fields." He glued together tiny collages, which he called Naturelles-accidental impastos of tissue paper, newsprint, and cardboard stamped with the tread of automobile tires or feet-in an uncanny anticipation of abstract expressionism. He took up wax crayons to create richly colored tropical scenes: surrealist flowers as big as hybrid corn, rosy hieroglyphs of animal life. These symbolic works, some plainly eruptions from his subconscious, show how, in the 1920s and 1930s, his work grew close to that of Marsden Hartley and Arthur Dove in a search...

Author: /time Magazine | Title: Art: New York Was His Wife | 11/8/1963 | See Source »

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