Word: foregrounds
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Dates: during 1990-1999
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...clouds of schooling mackerel. The animals seem to live alongside, yet are safely away from, the predatory ocean dwellers. "The wonderful thing is that it all starts to connect and take on a richness," says Chermayeff. Indeed, it's possible to look past puffins and otters in the foreground and see right into a tank of sharks, rays and groupers. "When you look through the acrylic window, you can lose yourself in the ocean and become involved in some connective way with these little creatures," he says. "The aquarium gives you the opportunity to gaze and dream...
...owing to the constraints of Close's grid) hardens into the likeness of Dick Tracy while keeping a beautiful fluidity of surface. Finally, Close has been able to get some vibrancy into the results of his system: the work of the imagination has been moved up from background to foreground, from the planning of the image to its actual execution. Some artists get stuck in their style as they age. Others get wilder; they are among the lucky ones, and this show makes it clear that Close is one of them...
...swing in ceilingbaskets along the windows. Every inch of wallspace is covered by something which was almostcertainly obtained for free, including thethoroughly-crooked set of house cues. Theexception is the back wall; this surface iscovered by a custom-made mural which clearly datesfrom an era long past. In the foreground, thepainting crudely depicts a scene from "TheHustler," with vaguely recognizable likenesses ofJackie Gleason's Minnesota Fats and Paul Newman'sEddie Felsin. At the middle table in the painting,three ruddy-faced Irish fellows contemplatesinking the eight-ball in the corner pocket. Themural distinguishes the setting as undeniablySully':, jammed with more...
Today it is Lotto's strangeness that enchants--or, more precisely, the way he assimilates strangeness into naturalism. The show includes what must surely be the most peculiar image of the Annunciation ever painted. We're looking into the Virgin's chamber. She is in the foreground, looking girlish and distraught, facing you and throwing up her hands as though she were appealing for help. And why not? The angel, bearing the news that God has just impregnated her (you can see God in the background, as invasive and patriarchal as could be), seems to have fairly burst into...
...excluded from the lavish world that Norfleet has put on display. Two women's backs block the foreground. All we catch is the smoke of their cigarettes trailing up into the sky. One woman, her skin as taught as plastic surgery might allow, stares virtually through us. Her sunglasses shade her from the sun and the world as the viewer knows...