Word: formation
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Dates: during 1970-1979
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Whatever Klemesrud's point about the now supposedly mature state of the women's movement is meant to be, the impact of her far-fetched editorial opinion has to, in the short run, be masked by the format of her article. Many women, and many men, are outraged, and one editor of the magazine put in a furious call to editor Clay Felker to protest. "If they are going to start running that shit, they aren't going to see my stuff in the magazine any longer," he said. But people who know how to be properly outraged...
...groups are taking on even more importance as barriers to women's success. Playboy, of course has been at the fore of the exploitative media. To call Playboy seamy or stupid and leave it at that misses the point: Playboy uses as its biggest drawing card a highly stylized format displaying women as sex objects, and has over its lifetime done more to cement men's sexist perception of women than any other publication...
Perhaps the last thing that British newspaper readers needed was still another steamy tabloid featuring scandal, sports, crime and bare-breasted pinups. The format, rooted in the 19th century penny press and perfected in the frothy wake of the swinging '60s, now dominates British newsstands. The leading exponents of the "tits and bums" genre, as it is known on Fleet Street, are Publisher Rupert Murdoch's Sun (circ. 4 million) and the Daily Mirror (circ. 3.9 million). Each is fondled by twice as many customers a day as all four of Britain's major quality dailies combined...
...breakthrough came in 1949, with a painting named Violet, Black, Orange, Yellow on White and Red, which created the formula he would explore (with variations) for the last 20 years of his life: tiers of color in bands and oblongs, softly glowing, stacked up on the canvas. Within this format, Rothko for the next dozen or so years produced one of the most articulate, subtle and prolonged meditations on color in the history of Western art. It had no real parallel among American painters: one needs to go to Matisse or Bonnard to find anything like its expressive scope...
...appeared to be an aesthete to his fingertips. Staining, scumbling, glazing, building up those exquisite oblongs of color, he coaxed an amazing range of effects from a nominally simple format. Sometimes the paint has the grainy opacity of stone, sometimes it is no more than a puff, a vapor with color bleeding through it. It is never crude and only rarely inert. In this way a most sonorous pictorial eloquence is placed at the service of incommunicable feelings, and the sad facts of Rothko's life rush in to complete the missing subject matter. In a sense, the late works...