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Daniel Larue Johnson came out of Los Angeles' Watts ghetto, but no one would ever know it from his works. He made his way via a scholarship and gumption to New York (where he made friends with Larry Rivers and Willem de Kooning) and Paris (where he met Riopelle and worked with Giacometti). Manhattan's prestigious French & Co. gallery gave him a show last month, where his slab-sided totems sold briskly for upwards of $3,500 apiece. As for being a black artist, he snaps: "Such questions are frivolous. They have nothing to do with the consciousness...

Author: /time Magazine | Title: Art: Object: Diversity | 4/6/1970 | See Source »

...Willem Alberts owns the nightclub Pompidou near The Hague, and just before the Common Market summit conference in that city, he received a phone call from the French embassy. Out of respect for President Georges Pompidou, he was asked to rename his establishment. "Well, I could change the spelling from Pompidou to Pompidoe," said he. "It's the same pronunciation in Dutch. But you will have to pay the cost of changing my neon sign." Not a word since from the embassy, which apparently does not feel that one letter is worth the price ($20). Anyway, Pompidou loves nightclubs...

Author: /time Magazine | Title: People: Dec. 26, 1969 | 12/26/1969 | See Source »

Concentrating on sweeping brush strokes, Willem de Kooning also surrenders his style to the specific manner of applying paint to canvas. Pollock, de Kooning and Hans Hoffman evoke feeling purely through the motion of paint, creating some of the most beautiful works in the exhibition. The immediate texture of paint brings action to the surface of the canvas, while space is suggested by particularly dense areas...

Author: By Cyntiha Saltzman, | Title: At the Met New York Painting and Sculpture 1940-1970 at the New York Metropolitan Museum of Art until February 1. | 12/11/1969 | See Source »

...show demonstrates, the major figures were highly individual artists. Perhaps their only unifying characteristic was exuberance-exuberance of size, exuberance of gesture. Instead of the carefully calculated stroke, there was the swirl of Pollock's drip paintings, the splattered brilliance of Willem de Kooning's terrifying women. Franz Kline's huge black-on-white compositions showed no more sophistication than a Chinese ideograph, but they conveyed the energy of the man that made them-and commanded a whole wall rather than a corner of a scroll. The smoldering color clouds of Mark Rothko drew a viewer...

Author: /time Magazine | Title: Painting: The New Ancestors | 6/27/1969 | See Source »

...soon will artificial hearts-or even temporary assist devices to do the work of the main pumping chamber-become generally available? That is still problematical. The University of Utah's Dr. Willem J. Kolff, inventor of the artificial kidney and an early artificial heart researcher, complained in Los Angeles that cardiologists are reluctant to try the devices "because anything artificial is looked upon with suspicion." He predicted that physicians would revise their thinking when they realize that the familiar heart drugs, in which they put great confidence today, cannot save patients whom an artificial heart might keep alive...

Author: /time Magazine | Title: Transplants: Natural v. Artificial Hearts | 4/4/1969 | See Source »

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