Word: abstractedly
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Dates: during 1960-1969
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...forms are not mutually exclusive; in fact, they can complement one another quite nicely. Roy Stryker, the man who directed the Farm Security Administration photography project discovered as an economics professor at Columbia the effectiveness of photographs in making abstract economic concepts tangible for his students. In clear contrast to Sontag, he became convinced that "the photograph... that little rectangle, is one of the damnedest educational devices ever made." Sontag correctly argues that "photographs do not explain; they acknowledge." But this is no reason to disparage photography--understanding is impossible without acknowledgement...
...offer is that they have nonetheless played a major part in an intensely personal, equally harrowing, romance between the film-maker and what his mind projects through a camera onto a screen. Both films employ the simplest dramatic premises as foundation for an exploration into the diverse often-abstract preoccupations of their auteurs. Both Lady Jane and Stranger are as much about their creators as their subjects. They prove if nothing else, that the films of people whose cameras are too small for anyone but themselves to run intimately mirror the force of that director-cameraman-cutter...
...average museumgoer, on the other hand, will be mystified by a large gallery full of airy, forgettable abstract canvases. These are meant to support the French thesis that Paris, and not New York, invented abstract expressionism in the 1950s (the French call their version tachisme, or staining). Hélas pour la grandeur, for just the reverse is shown. By comparison with the work turned out by the dynamic U.S. action painters, the French products look timid, prettified and unconvincing?with a few exceptions, most notably the stark abstractions of Pierre Soulages...
...Mehta was just following the score of Contextures, a new multimedia orchestral work which he commissioned from Composer William Kraft. Accompanying the first movement of Contextures, subtitled "Riots-Decade 60," was a color film in which abstract patterns had been scratched, brushed and drawn on celluloid, and punctuated with black and white stills of last summer's riots in U.S. cities. Accompanying the nonstop fourth and fifth movements was an exacting film inspection of Painter Reginald Pollack's works on the themes of segregation and violence-closeups of hooded Klan marauders, straining limbs, the curled bodies of innocent...
Nonetheless, as examples of early work by these abstract expressionists and the pop artists on display at the Modern suggest, more was assimilated from the surrealists and Dadaists than mere assemblage and drip. Common to all of the work in the exhibit is a poetry and passion, gaiety and humanism totally foreign to the dry logic of cubism and to the pure, impersonal geometric abstractions that developed directly out of it in Europe. The camera may well have deprived painting of its reason for being by surpassing it in the portrayal of objective reality. Dada and surrealism, however, made...