Word: abstraction
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Colescott began his career as an abstract artist. In 1949, at a fairly young age, he left the United States for Paris to study with Fernand Leger, who was by that time working in quite a representational manner. Leger convinced Colescott that abstraction was not the most effective means of communicating to people. Colescott eagerly adopted Leger's more figurative style in an effort to attract his attention...
...known for his series of appropriations of other painters' works, including a Courbet, a Van Eyck, a Vermeer and a Van Gogh. In these he often changed the race of the figures or added captions and altered the size of the piece. He produced a few works in the Abstract Expressionist vein, which focused on the significance of color and gesture. He employed a cartoon style to address political issues. Among other politically-motivated works, Colescott discussed a painting of the assassination of Robert F. Kennedy '48 (he considered it his first truly narrative work) and one of George Washington...
...parents, even harder than the abstract social questions are the very personal ones they confront when they see or hear that their child is struggling. Will Ritalin help? Will it change her personality? Is it fair for me to make this choice for him? Does it send the signal that she is not responsible for her behavior? Is the teacher suggesting it just to make her own day easier? Will he have to take it forever? What if all children would be a little happier, perform a little better if they took their pills like vitamins every morning...
Perhaps the most abstract film of the four from the Ma'ale school was Hadar Friedlich's Fast of Words, an examination of the attempts of a writer, photographer and musician to spend an entire day without speaking. The remaining films were concerned with issues particular to Judaism, yet the issues were nonetheless resonant among even non-Jews. Yaakov Freedland's Fragments of a Dream set the archetypal figures of the willful: an army-bound son and the proud father unwilling to leave his violent homeland amid the Israeli-Palestinian conflict. The theme of self-sacrifice for the sake...
...broke free from it--and, it now seems, took American art into a larger freedom with him--was the 20-ft.-wide mural he did for Peggy Guggenheim. He painted it in one outpouring rush, in a day and a night. Mural isn't by any means an abstract painting. It retains the essence of subject matter shared by most "classical" murals, from Giotto to Matisse--the projection of human figures on a large plane surface. But the movement isn't suave. The figures are arabesques, coiling, jammed together, recognizable as figures because of their verticality but lacking most identifiable...