Word: metaphoritis
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Robert Colescott's body of work makes it look like the Carpenter Center developed their series of lectures on "Metaphor, Allegory, Illustration and Narrative" exclusively as an excuse to invite him to speak. In his 50 years of painting, he has exploited the possibilities of all of these themes extensively. His lecture was basically a retrospective of his work, presented as it would be perceived through those thematic filters. In presenting the straightforward artistic qualities of his work, Colescott couldn't resist discussing the complex political issues his work reflects...
Robert Colescott's work expressed the themes of the lecture series--metaphor, allegory, illustration and narrative--well and was stylistically diverse and interesting to look at; but by far the most intriguing aspect of his lecture was the enigmatic unjustified political statements he made. I left both furious and curious. His attitude is like his art: ambivalent and multipurpose. Just as Colescott stimulated unsettling questions without proposing definitive answers, his artwork leaves both political ideas and the themes of the lecture series as undefined, ambiguous and potentially exciting as they were before he engaged with them. Robert Colescott's lecture...
...think the best thing about the speech wasthe reassur[ance] that although Mandela is a greatleader, he's only one apple from a tree that hasmany other apples and deep roots," said AndersenC. Fisher '99, using Sonn's metaphor...
...industrious little creatures is ripped off by marauders from afar. Ants and grasshoppers. That too. But in conspiratorial hindsight one might see A Bug's Life, the first feature from John Lasseter and his Pixar whizzes since their 1995 computer-generated hit Toy Story, as the company's rearview metaphor for its battle with DreamWorks' Antz. That similar computer-animated cartoon was conceived after the Pixar pic but released before it. It's bug-eat-bug in Hollywood's animation wars...
...surface is what it actually is--a mere surface, a facade, nothing of substance. Applied to the time period it parodies, it makes fundamentally the same observation that last year's L.A. Confidential did: the golden ideal of the color in Pleasantville becomes a pointed metaphor for color in the racial sense, tying in neatly with the movie's larger lesson that change is inevitable and desirable, if not an unmixed blessing...