Word: backgrounder
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Dates: during 1960-1969
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...matter--and perhaps even more important, the artistic process--is intrinsically bound to everyday life. The relationship between life and art should be a symbiotic one--art feeding on life and vice versa. This realization, philosophy professor Nelson Goodman argues, is essential, and essentially lacking from our general cultural background...
...denizens of the Sea of Monsters) are top-notch cartoon creations. An evil-grinning feline called a Butterfly Stomper provides a hysterical 30 seconds of irrelevant wickedness; a flying glove proves a wonderfully Kafkasque weapon, and an anteater-cum-dinosaur happily devours everything in sight (including the frame background) by drawing it into his vacuum-cleaner snout. "So long, sucker," yells a Beatle as they escape. Nonetheless, the eclecticism of Edelmann's drawings disturbs as much as it captivates. The difficulty begins when it becomes hard to reconcile the different effects of Warhol-like silkscreen backgrounds, Vanderbeek photomontage, familiar comic...
Sickening Collision. A water-pollution spot uses the background sound ( a flushing toilet to dramatize the condition of many U.S. rivers and streams; an antilitter campaign depicts a community overrun by snorting pigs. In the "Give a Damn" campaign for the New York Urban Coalition, a black narrator suggests to white viewers: "Send your kid to a ghetto for the summer. Want to see the pool? C'mon. The kids clog up the sewer with garbage, open a hydrant . . . You don't want your kids to play here this summer? Then don't expect ours...
...student at the Business School, said that his trips were "so far, so good," and that other black students he had talked with felt the same. Lowrey added that he is in favour of black students' participation in admission because "we can evaluate certain people with certain types of background better than other people without that background...
...Fonda plus moustache) who has been commissioned to track the killer down. Aside from a brief interlude in which Bottomley confesses his secret worry--"I'm beginning to like this"--to his wife, the interrogation and, predictably and inevitably, the breakdown of DeSalvo takes place against a searingly white background. Once you've mulled for six or seven seconds over the symbolic significance of the white, the remainder of the scene provides only a pain in the eyeballs...