Word: grid
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Dates: during 1970-1979
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...inter-conference action Ivy grid squads could only manage one win in four, that coming on Dartmouth's 38-0 icing of hockey-minded Boston University...
...power failure likely to last as long as 25 hours; New York has more underground cable than any other system-80,837 miles of it-and it obviously requires more time to repair than do surface lines. And because each section of Manhattan's power grid sucks as much power as a small city, the restoration of power in each neighborhood had to proceed slowly and carefully to avoid sudden overloads on the system. Earlier this month, when fire destroyed an electric cable in St. Louis, it took only eight hours to restore power to the 40-block downtown...
Delectable Glow. He came to abstract painting through still life, canceling out recognizable objects until the tabletop became a flat plane inlaid with small, quirky geometrical forms. But Cavallon's formative encounter was with Mondrian's work, and it is to Mondrian that the grid paintings he made from the late '30s onward incessantly allude. Cavallon's geometrical works, like one dated 1946, are not Utopias: there is little of Mondrian's austere, architectonic rectitude in them. They are sociable, warm, busy and a bit sloppy. They stand to the more purist kinds of geometrical...
...little information do you need to recognize a face? How generalized can it become before the specific relation ship of features falls apart? And which features are the first to go? Close's meth od is to grid off a rectangle into squares - up to 600 of them - and to use each square as a part of the portrait. The coarser the grid, the more detail is lost...
...could equal. Like gigantic watercolors-which in effect they are-Noland's targets and chevrons bloom and pulsate with light. They offer a pure, uncluttered hedonism to the eye. But that is all they do offer. The more recent work, the plaid paintings of 1971 with their tartan grid of lines laid like pastel Mondrian across a blue ground, and the irregular polygonal canvases from 1976 with rays and cuts of color, cannot even do that. One realizes, descending the ramp of the Guggenheim, that Noland is hardly a giant of cultural history. He is simply an ornamental artist...