Word: colors
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Dates: during 1960-1969
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...with it the beginnings of American imperialism: and the country was caught in a period of public venality unequalled in its history before or since. But DuBois noticed none of this. He was even unaware of his race and did not connect certain slights he suffered with the color of his skin until years afterward...
...predecessors-Johannes Strijdom, Daniel Malan and Hendrik Verwoerd. Grim and humorless, he had served five years as Minister of Justice and took credit for some of South Africa's harshest apartheid laws. To the ruling Nationalist Party, he was a hero, dedicated to preserving its policy of strict color separation. It is little short of amazing, then, that Vorster should now be under attack by Nationalist right-wingers as a dangerous liberal...
Push-Pull Theory. Its variety, if not infinite, was impressive. Mark Rothko reduced his palette to the softest shades and his compositions to a pair of rectangles in tandem. That commanding teacher Hans Hofmann preached what he called the "push-pull" theory of colors in tension-and practiced it to perfection. De Kooning restored the name of action to artistic thought, slashing at his canvases with inspired passion. David Smith took the grand gesture to sculpture, mounting one stainless steel shaft upon another in marvels of cliff-hanger balance. Later artists like Ellsworth Kelly, Kenneth Noland and Frank Stella solidified...
...vivacity, energy and flair for exuberant gesture and radiant color, American art in the 1940s was already betraying a moody melancholy lurking beneath the aggressive romanticism. Ar shile Gorky's disembodied forms, drifting poignantly amid the lyric whisperings of nature, have a kind of indescribable horror, like cancer in a beautiful girl. Edward Hopper's Gas is everybody's home town - and it is stifling with loneliness...
...young who have already bolted the establishment, the Metropolitan's show may represent another irrelevant exercise in self-aggrandizement for what goes in the marketplace. Peter Selz, director of Berkeley's University Art Museum, observes: "Today's young artists reject pure color paintings as establishment art. They are more interested in changing our total environment." Nonetheless, aside from the majestic scale, the frequent emptiness and the su-persimple icons of the past three decades, there is a lesson to be learned from the Met's show. It is that American artists have persistently practiced a kind...