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MUSEUM OF PRIMITIVE ART-15 West 54th. Objects from the Massim region of New Guinea and 60 tempera paintings of primitive sculpture by Mexican Miguel Covarrubias, an important scholar in the field. Through...

Author: /time Magazine | Title: Art: Art in New York: Apr. 10, 1964 | 4/10/1964 | See Source »

MUSEUM OF PRIMITIVE ART-15 West 54th. Ivory drums, carved canoe prows and paddles, dance shields and other ob jects from the Massim region of New Guinea. Also 60 tempera paintings of primitive sculpture by Mexican Miguel Covarrubias, an important scholar in the field. Through...

Author: /time Magazine | Title: Art: Art in New York: Mar. 27, 1964 | 3/27/1964 | See Source »

...Geneva, and in 1929 joined the Abstraction-Creation group in Paris. There he worked with Jean Arp in surrealist exploration of a limbo of landscape of imaginary objects utterly divorced from reality. Like Arp, he drew "biomorphs," or lifelike forms-egg shapes, darning sticks, blobs crisply drawn over tempera grounds. To shock the stuffy, he dutifully garlanded a guitar with ivy and epaulets, fitted a stool with four female legs clad in silk stockings. But if he seemed to be trying only to be fashionable, he was nonetheless learning to break down the four dimensions of cubism, and to free...

Author: /time Magazine | Title: Art: Dance Without the Dancer | 1/31/1964 | See Source »

ARTHUR JOSEPHSON-Seiferheld, 158 East 64th. Fifty drawings in silverpoint, ink, tempera and wax encaustic by a facile, delicate draftsman. Included are some out-of-this-world portraits of Moondog, the blind musician clad in army blankets, who haunts Manhattan's Avenue of the Americas. Also 16th to 19th century old master drawings. Through...

Author: /time Magazine | Title: Art In New York: Art: Dec. 6, 1963 | 12/6/1963 | See Source »

...fabric of the world. Working from 6 a.m. to 9 p.m. in his studio on the Swiss end of Lake Maggiore, he prepares thready-edged linen canvas or irregular pieces of batiste shirting. Over these loose, unframed scraps, he lays on slick sizing so that subsequent brushstrokes in oil tempera seem to float above the surface. He paints where the bristles of his soft, often home-made brushes lead him. He says he is "listening to the brush-I want my colors to breathe, not to cover...

Author: /time Magazine | Title: Art: Incantations in Color | 11/8/1963 | See Source »

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