Word: colorful
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Dates: during 1970-1979
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...first impression is of peach-fuzz abstract expressionism-big, suave, one-color surfaces. But the sunset colors -mauve, rose, gray and a rich ecclesiastical red-are neatly tuned by Dine's drawing, which gives exactly the right definition to the edge of a sleeve, the correct visual weight to the shadow in a fold. It is beaux-arts drawing applied with a kind of gentle irony to the ma trix of abstract-expressionist style. Dine's older paintings of robes in the '60s were done with acrylic and house paint; they had the "industrial" look common...
...these poor little beans suffer such abuse is anybody's guess. Is it their size? Their curves? Color? Cut it out, this isn't Three On A Match...
...midst of Beaubourg's crumbling brick and mortar, they proceeded to construct what they called a "living urban machine." They planned a six-story building to be formed literally inside out -structural supports on the outside, along with a formidable array of ducts, gantries, movable mezzanines and color-coded pipes for heating, electricity, air conditioning and fire control. Attached to one external facade is a huge escalator with transparent walls, illustrating Rogers' description of the center as a "really easy to understand Meccano machine." Inside is a series of vast lofts, each the size of two football fields...
...pervading color of Ends and Odds is gray, a bleak miasma that convinces one character that "the earth must have got stuck, one sunless day, in the heart of winter." This backdrop accentuates the odd, vaudevillian turns that Beckett still keeps in his repertoire. He tosses off one-liners with apparent ease: "Ah, Morvan, you'd be the death of me if I were sufficiently alive!" His precise stage directions insist that props misfire with exquisite timing. He can make a character comment on a bit of stage business while implying a condemnation of life: "This gag has gone...
...hatcheting of Kunta Kinte's foot. For many black viewers, Roots succeeded in putting flesh on the bones of their Afro-American heritage. "We all knew what slavery was, by hearsay and by family tradition," noted Boston Journalist Robert Jordan. "But this put all those feelings in living color where you've got to believe them." Said Little Rock Teacher Charles Pruitt: "The black kids resent what has happened and say, 'They couldn't do it to me like that,' but the white kids say, 'But look, I'm not like that...