Word: arts
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Dates: during 1950-1959
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From his woodcuts, now on exhibit at the Paul Schuster Art Gallery (24 Palmer St.), Irving Amen might be diagnosed as an artistic schizoid. One can imagine a sweet Amen dominating the show, who produces pretty pictures of little children, prophets and other homey subjects; but occasionally one also finds a bitter Amen, whose work is more profound as well as more pessimistic...
...dungaree-clad London housewife, Frink had her first exhibition while still in art school. Last week her tabletop bronzes were on view at Manhattan's Bertha Schaefer Gallery. At first glance, many looked like mud attempting to fly; they were that energetic and that saggy. The combination said something blue about man's estate, the approved tone of most contemporary sculpture. But Frink's ostensible purpose has nothing to do with moral messages or with ideals of any kind, not even plastic ones. "Somebody makes a metal armature for me," she explains, "and I start covering...
Mark Lass, plump, solemn and 61, claimed he had been a Red general. His brother Boris, 64, he said, was a concert violinist and had been the Soviet Union's top art official in the early 19205. They left Russia for Japan in 1926, taking with them 200 "masterpieces" collected by their mother. Settling finally in Manhattan, they became naturalized citizens in 1945. By then their collection totaled some 280 canvases, which they valued at about $25 million, included paintings with such signatures as Gauguin, Van Gogh, Soutine, Cezanne and Monet. But money was running out. Nine months...
Warned by the Better Business Bureau, police forwarded photos of two Lass "Picassos" to Picasso himself, and the master labeled both fakes. Museum experts declared the older pictures largely student efforts, with signatures clumsily painted in. The Lasses stood firm under fire, protesting that an international art cartel was out to get them. But the brothers' own art tastes seemed confused. "Picasso," said Mark Lass, "is a mere cartoonist." But when he was asked how much he would take for one of his "Picassos," he answered: "I would not sell under half a million dollars. I would destroy instead...
JEALOUSY, by Alain Robbe-Grillet (149 pp.; Grove; clothbound, $3.50; paperback, $1.75). The author admires cinema techniques, and his book would make an excellent art-house movie. But like his earlier work, The Voyeur (TIME, Oct. 13, 1958), it is also thoroughly irritating. A prosaic love triangle is established on a remote banana plantation-a planter (the book's nameless narrator), his wife and a neighboring plantation owner. If this were one of Paul Bowles's African novels of sin and sun, the weather would cloud up on cue, providing a timpani accompaniment to the heroine...