Word: gothicisms
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Otto Piene rejects the "microscopic" tools of the traditionalist-paint, brush, stone. His media are electricity, wind, gas, fire, smoke and movement. "There is one essential difference between Gothic cathedrals and rockets: a cathedral seems to soar, expressing the yearning of its builders to ascend to heaven; a rocket does soar. The same technical difference exists between traditional sculpture and my objects. Mine don't merely express something. They are something...
...design will provide new exhibition space for the overcrowded American wing and the European collections. On the park side, the present hodgepodge façade of Romanesque, Venetian Gothic, bare brick and nondescript modern will be concealed behind windowless walls or veiled by vast expanses of glass. A final judgment will have to wait until the time, still at least ten years off, when the project is completed. But some critics already feel that the new park façade is blank and featureless; it seems more appropriate to a factory than to one of the world's greatest...
Chairs, clocks, tables and china, arranged in Victorian abundance illustrate shifts in popular taste that marched through revivals of the Gothic, French Empire and Romantic styles. The nineteenth century public highly valued the furniture that warmed their houses. The mixture of decorative art with painting and sculpture in the Metropolitan exhibition illustrates the ties between the two during the last century. Whole rooms have been recreated by the museum with yellow silk chairs and gilt chandeliers to look the way they once did in American mansions. The style of the rooms is more ornate than the plain style...
...promoting computer-matched dating and half-fare cards for American Airlines. Other gimmicks that he and his campus representatives pushed included the outrageous and the plain corny: a pillow for sit-in demonstrators featuring a pocket containing No Doz pills to keep the user awake, a poster showing the Gothic splendors of Notre Dame above the line "Gargoyle with Listerine...
Stephen Tucker's simply designed set and the almost Gothic lighting effects designed by Jack Hanick complemented each other perfectly. Not since the Loeb's 1968 production of The Master Builder has a play's impact owed quite this much to its imposing physical trappings...