Word: deco
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Dates: during 1990-1999
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...been a great year for Art Deco. The hype for Barbra Streisand's auction of her extensive Deco collection has been almost as impressive as the objects themselves. And now the Coen brothers, Ethan and Joel, have made a movie in which the massive moderne settings by production designer Dennis Gassner and the glowing light cast on them by cinematographer Roger Deakins make you wonder how a decorative style at once so sleek and warm could ever have fallen out of favor...
...American theater was expressionistic and experimental, poetically and politically inflamed. Despite a few sentimental false notes, he is painfully apt about life in the U.S. today. But his play is set timelessly in "the modern era." Marina Draghici's set reinforces this reach for the enduring: its Art Deco windows and wire fences, beer gardens and alleys evoke the urban sense of living with the decaying legacy of the past...
Younger than the painters and writers who took part in the Harlem Renaissance of the '20s, Lawrence was also at an angle to them: he was not interested in the kind of idealized, fake-primitive images of blacks -- the Noble Negroes in Art Deco drag -- that others tended to produce as an antidote to the vile stereotypes with which white popular art had flooded the culture since Reconstruction. Nevertheless, he gained self-confidence from the Harlem cultural milieu -- in particular, from the art critic Alain Locke, a Harvard- trained aesthete who believed strongly in the possibility of an art created...
...American theater was expressionistic and experimental, poetically and politically inflamed. Despite a few sentimental false notes, he is painfully apt about the way we live now. But his play is set timelessly in "the modern era." Marina Draghici's set reinforces this reach for the enduring: its Art Deco windows and wire fences, beer gardens and back alleys evoke the urban sense of living with the decaying legacy of the past...
...decorum and an unfaltering sense of design, every black line in its right place, not a slippage in the stripes and Benday dots. Its flat, posterish colors will read with infrangible aplomb. It will parody other art, as in the past Lichtenstein's work has parodied everything from Art Deco to synthetic Cubism, from Franz Marc's horses to Monet's versions of Rouen Cathedral, from Mondrian's squares to the generic brushstroke of late Abstract Expressionism. It will have a number of concealed jokes for the art-initiated, often genuinely funny ones -- as when, redoing Matisse's Still Life...