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GAGE
Some people find our meals discouraging.
Our Motto: 124 seats, 124 tickets.
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alway1liked the man who
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u1ual,it isn' t an accident. You can't
cleanshisplate. So if rou' re counting calorie&,
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little more than the shrimp you' ll findiniTt()Mrettauranta.Nokidding.
market yet.
If our coffee
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Having the number of passengers andthenumber of aeallcomeout the
same has not always been easy.
ma~e turt< the leal we reserve for you i.&reservedfor you.
And you can imagine
what
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evitable.) Sowe&ottO!etherwith lDMto
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ittellauayou' renextontheliat.-..nd evengivetuayournumbertocall.
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American Airlines
Writer: Jack Dillon Artist: Charles Saxon TV producer: Jerry Kreeger Production company: Pelican Studios
set and he starts working. "His work routine comes in handy at times, too. Saxon likes to work at night and sleep during the day. So if we find we're stuck with a rush job, we'll call him late in the afternoon and get him out of bed. Then he'll work all night and deliver the finished drawing in the morning before he turns in for the day. Saxon on Gage Saxon, found in Gage's office at 6: 15
40
one afternoon, joined in the Gage conversations: "It took me a few months to appreciate Bob Gage properly. It seemed, for a while, that everything was working smoothly because there weren't any problems. But after a while I began to understand. Gage is so relaxed, so affable, so uncomplicated that his instantaneous comprehension and computerlike sifting of alternatives to arrive at the workable, the best, is hard to realize.
Gage on Gage Gage counts himself fortunate, once he got into advertising, that he has been associated with men of high intellectual and creative abilities. Gage recalls Abbott Kimball, who gave him his first job in the Abbott Kimball Agency art department, as having "impeccable taste~' Later he took the course given by Gyorgy Kepes on "The Language of Vision" at Brooklyn College. This was followed closely by Alexey Brodo-
....
At exactly 0513, the 18th of April, 1906, a cow was standing at 123°20' West longitude, 37°58' North latitudesomewhere between the main barn and the milking shed on the old Shafter Ranch in California, minding her own business. Suddenly, the earth shook, the skies trembled, and when it was all over, there was nothing showing of the cow above ground but a bit of her tail sticking up. 0 For the student of change, the Shafter cow is a sort of symbol of our times. She stood quietly enough, thinking such gentle thoughts as cows are likely to have, while huge forces outside her ken built up all around her and-within a minutedischarged it all at once in a great movement that changed the configuration of the earth, and destroyed a city, and swallowed her up. And that's what we are going to talk about now; how, if we do not learn to understand and guide the great forces of change at work on our world today, we may find ourselves like the Shafter cow, swallowed up by vast upheavals in our way of lifequite early some morning.
PHYSICSFORJ\1AN1~I-M l\TTER
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Greetings! A collection of personal, seasonal and holiday greetings received over a period of years by Mildred Constantine, Associate Curator of Design of the Department of Architecture and Design is being shown at The Museum of Modern Art. Identified as a "temporary exhibition:' it will be on view through May 8th, and represents the work of 62 artists from twelve countries. The exhibition's wall panel defines it: "The artists included in this exhibition have brought together all kinds of attitudes about religion, poetry, sympathy, friendship and love. Their work ranges from the figurative to the abstract; their sentiments range from the joyous to the cynical, from straightforward statements to metaphorical images. But they are able to project without ambiguity a touch of human feeling not yet lost amidst the glitter of tinsel. "Greetings today are designed as cards, posters and even flags. They also appear in three-dimensional forms related to modern sculpture. They are equally varied in technique: etching, drawing, painting and collage as well as embossing, photography and typography are all employed. Some are unique handmade objects communicating an individual's sentiment and personality. Others, though mass produced, still convey the touch and sensibility of the individual designer:' A selection from the exhibition is shown here.
60
Georgie Soavi, Olivetti Company, 1964 Saul Bass, 1957 Crosby, Fletcher, Forbes & Gill, 1965 Barbara Gould, 1965 Paul Rand, 1950
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