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...dioramas, stick-outs and wraparound environments of Red Grooms have been jiggling and creaking their way to glory on the fourth floor of Manhattan's Whitney Museum through the summer, and there are still queues round the block. Few American artists are more genuinely popular than this 50-year-old from the suburbs of Nashville. Look at Rembrandt and Saskia in their parlor, life-size and shining with booze! Hop into a New York City subway car left over from the pre-graffiti '60s, full of drunks, hippies, nervous housewives and one ultra- Orthodox Jew, all looking like Cabbage Patch...

Author: /time Magazine | Title: Art: Corn-Pone Cubism, Red-Neck Deco | 9/21/1987 | See Source »

...cliche and does not rank with Robert Crumb or Ralph Steadman, let alone Daumier. Twenty years later, even these small fangs are gone. His work gums its subjects, rolls on its back and waggles its paws in its demotic eagerness to be liked. If this is the Whitney's notion of satire, no wonder it shelved its plans for a Keinholz installation last year...

Author: /time Magazine | Title: Art: Corn-Pone Cubism, Red-Neck Deco | 9/21/1987 | See Source »

...Manhattan' s Whitney Museum, Red Grooms' exuberant, cartoony "ruckuses" are easy to like -- too easy, in fact...

Author: /time Magazine | Title: Time Magazine Contents Page | 9/21/1987 | See Source »

...eleven years as Washington bureau chief of the Times, Reston proved a shrewd man at spotting talent. He also instituted a practice, like a Supreme Court Justice's, of selecting young interns to "clerk" for a year; out of this group came the present bureau chief, Craig Whitney, as well as Times correspondents at the White House, the State Department and on Capitol Hill. In Reston they found a hard-working, long-hours boss, congenial colleague and fierce defender of his troops...

Author: /time Magazine | Title: Press: Newswatch: The Best Journalist of His Time | 8/31/1987 | See Source »

...American museums had to subsist on Government money like the Louvre or the National Gallery in London, all would shrink, and many of the best would never have got started. Names like Whitney, Guggenheim, Phillips, Freer and Frick attest to the role played by the private collector in creating the public institution. Today more than ever the one-person museum, named for the man or woman who assembled it and put it in its own building, is a ruling fantasy of the ambitious collector. Why settle for your name on a plaque in the Met when for a few extra...

Author: /time Magazine | Title: Art: How To Start a Museum | 8/10/1987 | See Source »

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