Word: whitneys
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Dates: during 1980-1989
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...hundreds of trails, most of which are accessible to anyone with spunk and a good pair of boots. Among the most popular are the High Sierra trail, which runs east-west across the crest, and the John Muir trail, which follows a north-south line from Yosemite to Mt. Whitney. For those who want a less rigorous adventure, the National Park Service operates a string of five High Sierra camps, each a few hours' hike apart. The camps offer hot food, showers and beds, but reservations should be made early. There are also a number of beautiful day hikes leaving...
Last night in Yale's Payne-Whitney gymnasium, though, things got a bit sticky toward the end, and the Crimson had to wait till overtime to dump the Elis...
Recent decorative tendencies in American art are sampled at the Whitney but ignored in both the Guggenheim and the Hirshhorn. The idea of an art, abstract or figurative, that is entirely hedonistic, anxiety-free and without social resonance is not, of course, new in America. That was what most abstract painting in the '60s was about, although the fact was concealed as embarrassing. Now the impulse is out of the closet, which is a relief-although it seems not to have produced any genuinely major painting. The best of the peintre-décorateurs, and the longest...
Earthworks and land art are notoriously difficult to get into a museum -in fact part of their aim was to escape its confines-and at the Whitney they are present, in a ghostly way, through slide projection. But there is one unusually gifted land artist at the Hirshhorn, Lita Albuquerque. By dusting isolated stones or strewing sharp, evanescent blotches of pigment in desert places (the color is then blown away by the wind), Albuquerque produces an exquisitely fugitive interference with the landscape, like a fleeting pictograph, an acceleration of cultural time in the great stasis of nature. Her single rock...
...some of the best things on display ti these shows do not fall into any of the usual categories of the '70s. In particular, and perhaps best of all, there are the two rooms by Judy Pfaffat the Hirshhorn and the Whitney. If there is any central metaphor to Pfaffs maniacally strident and wonderfully energetic work, it is immersion. Colonies of shapes-spiky, blobby, twisting, knotted, tangled-sprout upward from the floor or hang in clusters from the ceiling. They proliferate like brain coral, elkhorn, lacy underwater fans; the wall beyond them dissolves into patches and drifts of submarine...