Word: flatness
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Dates: during 1990-1999
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...exact image he will do it to is as yet unknown. It will be done very well, probably on a huge canvas, with perfect 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...
Instead he turned to incongruous subjects that didn't fit his achieved style: huge versions of Abstract Expressionist brushstrokes, perversely rendered in flat color and Benday dots; or, most successfully, mirrors. The Mirror paintings of 1969-72 remain entrancing because of all Lichtenstein's later work, they are the only ones in which his now cleaned-up techniques allowed for a degree of mystery and ambiguity: they are perfect and icy, and reflect nothing but themselves -- a proleptic comment on his own future work...
Doerr breathes vitality into a flat-tire genre. The past few years have positively seethed with charming, Toujours Provence-like depictions of the rustic life of those quaint foreign folk. Authors tend to subscribe to the crude narrative conventions of culture clash and nation of contrasts, where faraway lands seduce the reader with their irrational, undeveloped, unhurried, unchanging, quintessentially un-Western ways. And readers, doubtless locked in urban sprawl and economic recession, have lapped up such escapist literature with alacrity...
...Italian-American butcher's wife. Aside from the fact that she looks like a man in a bad wig, she struggles to conceal her cockney accent and is inexpressive at best. Lili Taylor as Teresa tries too hard to convey a lowly monastic plainness, ending up as flat as Ullman. Judith Malina plays the matriarch Carmela as charmingly as an unfed pit-bull...
...songs associated with grunge--slow churning, soiled with feedback and riff-laden--was Melvins (not "The Melvins," but simply "Melvins"). Melvins have been around since 1984. Along the way, the band has gone through many line-up changes and has released albums as mediocore as Ozma and as flat-out irritating as Bullhead. Obviously I'm not a fan. But in fairness to Melvins followers (who call themselves not "Melvins Army," but "The Melvins Army"), I don't really like Black Sabbath much either. However, I suspect that even a grunge music afficianado would find Melvins' new release, Houdini, inescapably...