Word: zens
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Dates: during 1950-1959
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...Kooning cheerfully acknowledges this debt to nature: "I see things I like. I don't fight them. Maybe it's only a puddle. Four or five months later they come back to me." In much the manner of the old Zen painters, De Kooning believes the image must come all at once or not at all. When his three-year-old daughter Lisbeth put her hands on the wet paint, he left the palm print rather than doctor the surface and destroy the spontaneous feeling. "I'm not trying to be a virtuoso," he explains...
Johns Hopkins File 7 (ABC, 11:30 a.m.-12 noon). The art of the plastic surgeon. Wisdom (NBC, 1-1:30 p.m.). Zen Buddhism discussed by its leading exponent in the U.S., Columbia University's Philosopher Daisetz Suzuki...
During the first stage of my absorption in Tapies' tricky abstract art form, I could have sworn that his work suggested merely a "well-raked garden" in an ordinary Buddhist temple, as distinguished from a "Zen Buddhist temple," as he described it. Finally, however, I caught the subtle clue to Tapies' entire revelation. I saw that had Tapies but an ordinary Buddhist temple to suggest, he would have used only eleven parallel lines against a background of mud. Actually, he employed twelve such lines, the twelfth line, of course, signifying the Zen...
Their myopia is especially strong when they envision Harvard as a completely cosmopolitan college. This contention rests upon the dual claims of unreserved acceptance of large numbers of foreign students, and eager susceptibility to international influences ranging from Austin-Healy's to Zen Buddhism. Both these claims are more attractive than true. Foreign students are accepted on the same basis as all others, more often despite than because of their foreign origins and customs. The college community is liberal enough not to be suspicious of outsiders, but it is not particularly interested in them either. The typical foreign student...
...austerity" in his dark art. The predominantly grey coloring of his pictures does not give a colorless effect but, like a pebble in a stream bed, hints at a glistening multitude of hues. Grey Borders (see cut) reminds Tàpies of a "well-raked garden in a Zen Buddhist temple," but he is quick to point out that he saw a photo of such a garden only after finishing the picture. Certainly it is both austere and serene; if it also seems pretty empty, it is the emptiness of contemplation, of waiting for enlightenment...