Word: colorations
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Dates: during 1970-1979
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...photographers crisscrossed the nation for upwards of a month. Picture Editor Arnold Drapkin and his assistants then sifted through the harvest of hundreds of rolls of film, eventually culling 80 or so photos for consideration. Finally, after a number of lengthy viewings, TIME'S editors selected the color and black-and-white pictures that accompany the text. Drapkin, who became our picture editor last July, has been chasing down the right pictures for TIME for 28 years. Says he: "I look for the added dimension in a shot, as well as its aesthetic quality. Does the photo give information...
Over the past four years, the number of pictures that TIME regularly runs has jumped by 20%, to nearly 100 an issue, and our increased use of color has compounded the problems faced by Drapkin and George, who head a 19-person department. However, covers like this week's on American farming, the work of Senior Writer George Church, always make the extra effort worthwhile. The photographs, both color and black and white, bring that extra dimension to the story that Drapkin is seeking...
...Catholics and regular churchgoers; when St. Cecilia's Church in Sabin burned to the ground two years ago, Pat was elected to help supervise construction of a new building. He is close with his money but has unwound enough in the past few years to buy a Cadillac, several color TV sets and motorcycles for each of his three oldest sons. This year he even treated himself to a two-week trip hunting elk, bear and bighorn sheep in the Canadian Yukon. Pat sounds apologetic about his worldly goods and pleasures: 'Since the kids have gotten older we've bought...
...begonias, but otherwise unremarkable. But gradually the patches coalesced, the structure firmed. His breakthrough came in 1949, with a painting named Violet, Black, Orange, Yellow on White and Red, which created the formula he would explore (with variations) for the last 20 years of his life: tiers of color in bands and oblongs, softly glowing, stacked up on the canvas. Within this format, Rothko for the next dozen or so years produced one of the most articulate, subtle and prolonged meditations on color in the history of Western art. It had no real parallel among American painters: one needs...
...Waldman for the Guggenheim Museum, it will travel later to Houston, Minneapolis and Los Angeles. It consists of almost 200 paintings, spanning a career of more than 40 years. They run from his first tentative exercises in the manner of Milton Avery, his mentor, whose soft, vibrating patches of color had an indelible effect on Rothko; thence to the curious, stilted subway scenes of the 1930s, and to the totemic abstracts of vaguely identifiable figures-in-landscape which were the staple of his work up to the end of World War II, culminating in Slow Swirl at the Edge...