Word: grid
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Originally conceived by current "Master of the Arts" John A. Lithgow '67 (one step down from "Master of the Universe") while serving on the Board of Overseers, the volume of events included in Arts First has grown consistently. An elaborate grid is currently required to list all of the performances and a "Harvard Arts Medal" is awarded annually--this year to John H. Updike...
...peers in sculptural materials set forth as they were: strips of rubber or felt on the floor, cinder blocks, polystyrene or slabs of rusty steel propped together. The paint Close applied was molecule-thin, spritzed on the painstakingly prepared gesso surface with an airbrush, in strict accordance with the grid to which Close enlarged the original photo. It suggested an obsessive involvement on the artist's part, but kept the viewer distant, with nothing sensuous to hook onto--unless you had a thing about freckles and wens. This idea of deadpan, photo-derived "objectivity" was much...
...what point does an array of colored squares in a regular grid begin to turn into a recognizable image? The question touches on the mystery of Realist painting--how it is, for instance, that when looking close up at a Velasquez you see a flurry of gray-and-pink spots and streaks, and when you move back a couple of feet, that same patch has become a glistening silver embroidery on rose velvet. All of Close's art recalls his fixation on this effect, the brain seeking illusion in pattern, questing for clues: Close will break a face down into...
...head coarsens and blurs, breaks off at some edges, acquires a mysterious density. It's like looking at someone through ripple glass, and it produces striking results--as in Roy II, 1994, a portrait of the painter Roy Lichtenstein, whose profile (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...
...tone of the trilogy's first ballet, "Waterbaby Bagatelles," with choreography by the ultra-innovative Twyla Tharp, ranges from hauntingly mechanical to precociously cute. A gigantic grid of flourescent lights dangling at varying angles just inches above the dancers' heads adds to the surreal, Blade Runner-esque mood onstage. No-sweat-showing spandex and stretch velvet seem to be costume designer Santo Loquasto's fabrics of choice for this production--the men don shimmery silver tank tops and billowy white pants, while the women wear either two-color fluttery gowns resembling beach cover-ups, or bathing beauty-style suits...