Word: colorations
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Dates: during 1960-1969
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...orchestra and offstage chorus required no fewer than 30 rehearsals. Yun's use of twelve-tone rows is as free as his theatrical fantasy. The singers often had to master unaccompanied vocal lines, and the orchestra itself was augmented by whips, rattles and bells. At the end, as color projections were flashed onto a transparent curtain, boulder-size clusters of tone shot from the orchestra, and twelve percussion instruments went wild with pings, thumps, roars and growling glissandi. Then the tumultuous sound dissolved as mysteriously as it had arisen. Silence. Curtain...
...Museum, with its stark slate floors and 17-ft. ceilings, can seem as empty and remote as an abandoned temple. A-architecture, it is a demanding frame, diminishing the trivial but magnificently enhancing the heroic. Currently, frame and subject seem superbly conjoined in a display of 46 huge, brilliantly colored canvases by Helen Frankenthaler. There, on the impassive walls, color gardens of imaginary flowers bloom with subtle petals of mauve, maroon, crimson, orange, cinnamon. There are stately, bold, blaring rectangles of cherry and apricot, leaping palegold fires, whistling blue sails of form...
...Jackson Pollock's method of skeining swirls of glossy Duco enamel onto a canvas spread upon the floor. Helen thinned her paint with turpentine and poured it onto the unprimed canvas, so that the paint sank in. The marks of the pouring or brush disappeared, canvas and color became one and the same. The result was so remarkable that when Morris Louis and Kenneth Noland came up from Washington to look, Louis adapted the technique for his own sullenly smoldering veils of color and fiery stripes. Noland borrowed it to delineate his electric targets and chevrons. Jules Olitski...
...anywhere else. The three Harvard graduates who will gather in the sheckles from this adventure into Madison Avenue conjure up one Ivy stereotype after another, blow on it with their windy wit, and leave it. In the face of unsubtle attempts to infuse rewrites of admissions booklets with local color--paint it whitewash--all of the eight Ivy League schools come out remarkably the same...
What does not hang well in this Blood Knot is the awkward handling of the asides and soliloquies that reveal the brothers' fears about color: Zachariah's awakening to the constraints his blackness will impose and Morris's guilt for passing as white. That apartheid distorts their lives is evident when they panic at Ethel's proposed visit, but the symbolic ballet of their hatred for each other's color seems a detached, out-of-joint afterthought to the play...