Word: colorful
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Dates: during 1970-1979
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...grey amblypod with a withered proboscis: prodded by clowns and stampeded by mice. The Lampoon has never been able to decide whether it is the buffoon riding the elephant or the elephant being ridden by the fool. (The Crimson, of course, is just an ungulate of a different color.) Anarchy in the service of institutionalized diversion is ultimately a conservative phenomenon, resembling the Republican mascot. Naturally, when confronted by the Harvard Radcliffe Black Students Association (HRBSA) and, in the person of Archie C. Epps III, dean of students, the Harvard-Radcliffe Administration, the Lampoon could do nothing but capitulate...
...Pace Gallery is no disappointment. It consists of three large heads - one of Close himself, two of his friends in the art world - and a group of studies and drawings for them. Self-portrait and Klaus (1976) are in black and white. The third, Linda (1975-76), is a color painting of the face of a red-haired woman in a red dress...
Close's method is complex: he squares up from a large, side-lit studio mug shot of his subject, working over it first in pure red, then in blue and finally yellow; the overlays, as in three-color printing, produce "natural" color. The camera is focused on the sitter's eyes, and the photo's depth of field is so small that the tip of the nose blurs, and one can see as many differences of sharpness in Close's beard or Linda's tangle of rusty curls as among the stalks of a wheatfield...
Dvorak: Symphony No. 7 in D-Minor. (London Philharmonic Orchestra, Carlo Maria Giulini conductor, Angel; Concertgebouw Orchestra, Amsterdam, Colin Davis conductor, Philips.) No other of Dvorak's nine symphonies equals the nobility and deep melancholy of this landscape of rich melody and subtly changing orchestral color. The warm, spacious performance by Giulini would be a winner at almost any time. Right now, however, it comes up against Davis and the Concertgebouw in one of their most electrifying collaborations. The lilting Czech dance rhythms in the Scherzo, for example, have the kind of freedom and spontaneity one would expect from...
...between, from the screwball comedies of the '30s to Elizabeth Taylor screaming at Richard Burton in the '60s. In Durang's hands the familiar images always take an unexpected turn, however, and he proves that there is nothing so funny as the cliche of a different color...