Word: graphics
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Dates: during 1980-1989
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...that mattered. He began as a commercial artist, became for a time (between about 1962 and 1968) a fine artist with something akin to genius and then lapsed back into a barely disguised form of commercial art. His sense of timing, his grip on how to give an image graphic clout, and his fixation on style as an end in itself all came out of his years of advertising and display work during the '50s for I. Miller, Lord & Taylor, Glamour and Vogue. By the end of this period he was rich, professionally famous and yearning for recognition...
Spokesmen for Critique Records, the Newcity Rockers' label, said that MTV would decide today whether to run the North House resident's video, which shows scenes of the band performing, computer graphic displays, and brief sequences relating to the song's lyrics...
...from Gericault and Ribera, for instance -- one is struck by his inability to put any vitality at all into the relation between the motif and the traces of the hand, to create an interesting shape, or even to model a form convincingly. But there is an out: Salle's graphic ineptitude is praised by his fans as a kind of fallen representation, as though it were a critique of affectlessness. Thus his work is credited with exposing what it merely embodies. This is a no-lose situation, under which the artist is held to be interesting for what he does...
Even Italy is providing the public with graphic information. A five-hour special broadcast last week by RAI, the state-run network, included sketches of couples engaged in various intimate acts. Health officials discussed the AIDS-related risks associated with the pictured practices, and fielded calls from anxious viewers. France has yet to start a coordinated effort. A 20-year- old law, prompted by France's stagnant birth rate and amended only in November, had made it illegal to advertise condoms on television or in magazines...
...receive a vivid lesson in the adjustment of manner to motif. Trabuc's cotton jacket, with its emphatic parallel stripes of blackish-blue, is as explicitly stylized as anything produced within the next quarter-century by Klimt or, for that matter, Miro. But in the head, this graphic energy is subordinated to volume, to the immobile self-containment of a man who, Van Gogh realized, "has seen an enormous amount of suffering and death." The chin and mouth are compressed, but the brow bulges irresistibly from its pale background, the relation between head and coat subtly maintained by the black...