Word: colored
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Dates: during 1980-1989
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...took to wearing my bold "Harvard Hockey, National Champs" shirt through crowded malls and busy streets. Like single-color 10-foot high tapestries of modern art, this shirt "confronts" the viewer. Any true University of Minnesota fan would crump at the sight of it, I reasoned, and then I could move in for the kill...
...description of him in a recent issue of TIME. It seemed an odd concern for a man at the center of the most serious State Department espionage scandal since the Alger Hiss affair. But perhaps Bloch's preoccupation with the media is understandable: he carried with him a color photo of a woman knocked to the ground in a supermarket by a burly TV cameraman who had been tracking Bloch's grocery cart. "That's the way it is nowadays," he said, sighing...
...selling shoes mostly for show, not sport. Adorned with bright-neon trim, buckles and rhinestones and worn by svelte blonds in the company's TV commercials, L.A. Gear's shoes suggest sex and Southern California. One of the brand's top sellers is Street Brats ($60), with contrasting-color laces, marbleized leather and tongues that stick straight up. L.A. Gear was started in 1979 by Robert Greenberg, 49, a hairdresser turned entrepreneur who keeps his finger on the pulse of California shopping culture. Says he: "I'm a mallaholic. I need to go to a mall at least twice...
...first it was an optical shimmer, a weaving of color energy on the surface, in deference to the prevalent American art theory of the day and, to some degree, in homage to Riley. The work of Mark Rothko, which Scully had seen as a student, was a presiding influence. It had shown him how a neutral and even boring form, an imperfect rectangle, could accumulate reserves of feeling and cogitation -- how the life of the mind and its tentative decisions could be embodied, not just illustrated, in pigment. And there had been a visit to Morocco in 1970; there Scully...
...world keeps peeping in, especially in Scully's color, which is richly organic and never blatant. Its tawny ochers and deep blues suggest landscape, though in a distant way. The whites in Pale Fire, 1988, are not flat white but a subtle paste applied over a warm brown ground in rapidly varying touches, so that they have the visual elasticity of flesh. Scully is a conservative, measured colorist. His sense of art, the seemingly obsolete act of communicating by smearing mud on cloth, is anchored in the past. You can see traces of his idols throughout -- especially, in his liking...