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...biggest market, is slightly up. What pinches is a 15% slide in the terms-of-trade index from its 1954 peak. Coffee now brings 53½? per lb., down from 70? in 1954; refined copper trembles at 25? per lb., down from 43? in 1955; lead, zinc, tin, wool, hides, wheat and cocoa have all slipped. But such U.S. exports as cars, machinery and structural steel cost as much or more than ever...

Author: /time Magazine | Title: THE AMERICAS: Help for Commodities | 4/28/1958 | See Source »

...printing-press inflation to pay the bills, lower dollar income because of the unsold coffee. Brazil's sober O Estado de São Paulo mourned that "even a frost of catastrophic proportions would not solve Brazil's coffee problems." In the same gloomy key, a Uruguayan wool exporter said: "Only another Korean war could save...

Author: /time Magazine | Title: THE AMERICAS: Help for Commodities | 4/28/1958 | See Source »

...that the county-unit system will eventually be defeated. The state's population is flowing from farm to city; growing cities-Macon, Augusta, Savannah, etc.-are beginning to suffer what Atlanta has suffered for 60 years at the hands of county legislators. When the cities agitate together, the wool-hats' reign may be doomed at last...

Author: /time Magazine | Title: GEORGIA: Revolt of the Cities | 3/24/1958 | See Source »

Often there in her shadowy world is the woman who created it, Sculptress Louise Nevelson, 57. Wrapped in a heavy black wool coat, she waves a nervous hand at the shapes and explains: "This is the universe, the stars, the moon-and you and I, everyone." (The one in the show's title refers to the viewer.) Pointing to a wall of narrow and squat open boxes rhythmically jammed with wood bits of all shapes, she says: "This is Cathedral in the Sky, man's temple to man. And over there is the Moon Dial, the clocking...

Author: /time Magazine | Title: Art: One Woman's World | 2/3/1958 | See Source »

...brightens. (This system is similar to that of the superbly lit Sterling and Francine Clark Art Institute in Williamstown, Mass.-TIME, May 7, 1956.) The natural light is next deflected by a synthetic-wood barrier-to the side walls of the gallery below, passing through ceiling panels of glass wool sandwiched between sheets of glass to diffuse it evenly over the pictures. Artificial light concealed above the translucent ceiling panels supplements the natural light. To finish off the galleries, now filled with a steady, shadowless illumination, the floors were paved with contrasting Carrara marble (in the Titian Room) or left...

Author: /time Magazine | Title: Art: MUSEUM FOR SEEING | 2/3/1958 | See Source »

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