Word: flatted
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Dates: during 1960-1969
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...million expansion of its Gary works, and second-ranked Bethlehem has already spent $350 million on its new Burns Harbor installation, where steel-plate production is scheduled to begin this month. Jones & Laughlin is tripling the size of its Hammond mill, and National is turning out flat rolled steel from its new mill at Portage. When all the new facilities are completed, Midwest steel capacity may exceed consumption by as much as 30%. Says a Pittsburgh steel executive: "I don't know who is going to hurt whom, but it is going to be one helluva scramble...
Johns chose subject matter that was purposely flat and familiar-U.S. flags, targets, maps, and the digits one to ten (see overleaf}. But to him, they are no more commonplace than the lemons of the still lifes of yesteryear. Transforming everyday objects into images of uncommon beauty is unquestionably the artist's task, and for Johns the act of metamorphosis is full of magic. He says: "I am concerned with a thing not being what it was, with its becoming something else, with any moment in which one identifies a thing precisely, and with the slipping away...
...Johns's images share one common denominator: initially they are flat, two-dimensional subject matter. Most modern art since Manet has brought three-dimensional images closer and closer to the picture plane, like noses pressed against a window pane. Johns is totally uninterested in the game of perspective; his interest is in the surface of the canvas and in putting instantly recognizable symbols through rigorous permutations. He slathers and slurries his images with a random, painterly stroke reminiscent of the abstract expressionists. He rubs sterile graphic images in an artist's saucy delight of texture...
...last 30 years is concerned. He would superimpose 0, 1,2,3 through 9 in a single image, making unnumerical gibberish of the alphabet of mathematics. Or he would paint an anagram of the basic digits so that none would look the same. He tackled these flat, unsensual forms because, to make them the proper subject of art, he had to endow them with more eye appeal and more meaning than their original human designers had already given them. This, he believes, is a bigger challenge than improving on naturally made lemons or landscapes...
Without Miss Allen, however, production would have been a bit flat, for Temin and Goldstein never build to any very intense moment. But as soon as Tekla enters, everything becomes clear: Adolf's anguish, Gustav's talk about guilt...