Word: colorism
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Dates: during 1960-1969
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...collection of Rodin sculptures left to the Fogg by Grenville Winthrop. In 1965, a graduate student named Michael Fried wrote the introduction to the catalogue of the Fogg's 1965 Noland, Olitski, and Steela exhibition, and that essay has been highly influential in developing an approach to these flat, color-preoccupied, conceptual paintings...
...passed the McKean Gate and the Voice told us to look inside and catch a glimpse of John Harvard's statue. "Until last year the statue was in Harvard Square. But every day the statue was painted a different color. So quite recently the authorities moved it into the Harvard Yard." The Sunglassed Voice seemed to be having a lot of trouble with his chronology. "I'm told you can buy anything you want in Harvard Square. Anything at all, Pot, anything. Notice the car registrations. They're from all over the world, and I do mean all over...
Very well known artists are not the only ones on display. Two abstract works by the Russian Serge Poliakoff, big blocks of carefully modelled color, can be seen on entering the exhibit, near a very subtle work in cement--"In the Shadow of a Field"--by ex-conservationist Raoul Ubac, while the plastic, organic cubism of an early Picabia is across the hall...
...virtually bald, "as befits my intellectual proclivities," but sported a "rakish goatee, a vanity I allow myself because I've been told the carrot color enhances my olive complexion. Addicted to loud sports shirts he despised formalities and shunned pretensions. "Just call me God," he told his subjects in heaven. At the same time, he was rather touchy about Christmas. "Nobody, I notice, ever makes a fuss over my birthday," he once complained in his diary...
...seen through black eyes, a ghetto tenement flat on Saturday night. But the heterosexual love scenes are dry, joyless and dread-inducing, while some of the writing plays with trite truisms ("If you are depending on a guy for your life, you don't really much care what color he is"). The penultimate scene, in which the Negro star plays host to Barbara's white old-Kentucky-home family, seems to have been lifted out of an old Lillian Hellman play; and the final speeches have a tacked-on and tatty Odets-like quality...