Word: foregrounds
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Dates: during 1970-1979
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...rigorous thought. "Albers had a marvelous system," he recalls. "Facts plus intimidation. I felt crushed. I would have done anything to please him; that was where the pain lay. Albers disliked my work exceedingly. I felt I could never do anything worthwhile. I had no background and no damn foreground either...
These pictures are without exception more than just likeable, though. Lifson's lens views a subject and catches the formal connections and the frame intrinsic to that subject. "Niagara Falls", for example, is seen through a glass window and balcony that enclose the foreground. A row of skyscrapers provide the backdrop. Looking closer, one perceives the interconnections between the forms in front of the falls--the in bric-a-brac on the window sill--and those behind, the buildings on the sill of the river...
...students of Slavic 197, "Survey of Russian Drama," who did much of the work for this production of The Dragon, have emphasized the play's fairy-tale qualities. The backdrop shines a luminescent blue, with hints of a leafy forest in the foreground and a decidedly Russian castle, topped with domes, in the back. The sets are appropriately simple: a cottage hearth, a wooden throne, a table set for a peasant feast. The costumes fit the set, with most of the characters dressed in traditional Russian style, and the dragon, in human form, wearing a military costume...
ARECENT TIME article on Puerto Rico carried the obligatory and classic photograph of a Latin American city. In the foreground stand shacks, slum alleys, and ragged brown children; in the background rise white concrete and glass office buildings. One can find such an image of inequality in Caracas, Lima, Mexico City, or San Juan. It appears to make a profound statement about contrasts in underdeveloped countries, until one recalls the famous photo poster of the Sixties showing dilapidated shacks, broken streets, and ragged black children. In that case, however, the city was Northeast Washington D.C., and the structure...
...childhood was substance rather than fantasy: tactile memories of mold, mud, woodgrain and brick became some of the most "painterly" painting in the history of art. The foreground of The Leaping Horse is all matter, and the things in it-squidgy earth, tangled weeds and wild flowers, prickle of light on the dark skin of water sliding over a hidden ledge-are troweled and spattered on with ecstatic gusto...