Word: colorations
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Dates: during 1990-1999
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...Creator of such pop cultural icons as Geraldine--the proud, sassy black woman who warned admirers that "What you see is what you get!"--Wilson was the first African-American entertainer to host a variety show. His goofy, outlandish style of humor was defiantly nonpolitical. "Funny is not a color," he said. "My main point is to be funny. If I can slip a message in there, fine...
...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 Carver crossing the Delaware. Many of his later works...
Although this column deals with race, I will not start with qualifications, hesitations and disclaimers. I will not apologize for discussing the issue even though I am not a person of color, or plead ignorance...
...most part, these panelists insisted that randomization has been bad for black students. Randomization broke up the self-segregated black student community in the Quad, leaving black students with no place where they could feel entirely at home. It uses students of color as symbols of diversity who "season the rice" of the College's predominantly white landscape. Finally, they argued that students should be allowed to self-segregate if they choose. All the panelists might not have agreed with this agenda, but if they disagreed, they did so amid so many qualifications and disclaimers that they came across...
...Oskar Schlemmer, in the pipes and puppets in the portraiture section. The noisy whirligig of modern technology is both embraced in dada photo-montages of basketball-headed humanoids and controlled through the neat, organized designs of Herbert Bayer's movie house and exhibition pavilion, diagrams simultaneously full of primary color and filled with stark black lines. In responding to industrialized modern culture so precociously, Weimar visual culture was not simply concerned with making images, it was all about using images...