Word: expressionist
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Dates: during 1960-1969
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...shows is that artists feel compelled to satirize the status quo. In this sense, the stage seems curiously akin to 1953. That was the year when Robert Rauschenberg set the stage for pop with his own contribution to the "art for art's sake" genre: erasing an Abstract Expressionist drawing by Willem de Kooning...
...shutdown, he set energetically to work to bring the Atheneum more up to date in art history. Conspicuously displayed in the new galleries and elsewhere were some of his acquisitions: Tony Smith's Amaryllis, Cezanne's Portrait of a Child, an important group of five Abstract Expressionist paintings, plus works by Pissarro, Schiele and Manet...
...wrote Ralph Waldo Emerson in 1841. And so believes American Composer Earle Brown, 42, whose music bears an unmistakable relationship to the plastic arts. Brown's work owes a debt to the mobile sculpture of Alexander Calder and the abstract expressionist painting of Jackson Pollock. His scores are graphic in their detail and precision, but he believes in a certain improvisation or mobility within a performance itself. Therein lies the influence of Calder, whose mobiles are made of 15 to 20 parts moving freely in space and changing their relationships with one another from minute to minute. Pollock...
...preliminary, Schoenberg's late work, A Survivor from Warsaw (1946) for male chorus, narrator and orchestra was performed. In this work Schoenberg strikes a medium between lyric singing and his own device of sprechstimme, by setting his expressionist text to notes of various vertical distances above and below a reference line. The work, described as "savage" in the program notes but bordering on melodrama, describes Schoenberg's raging desperateness as the Jews flee Nazist Warsaw, and his resumption of the Jewish faith in the face of this tragic modern Diaspora. This profound personal utterance seems to suffer from the same...
...which often earn other conductors only the scorn of their players. At a concert, he makes few flourishes in the direction of the audience. "I have no patience," he says, "with those conductors who, though their backs are physically turned to the spectators, spiritually face the ticketholders in an expressionist dance which has nothing to do with how the music ultimately will sound in their eardrums...