Word: mural
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Dates: during 1990-1999
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This informal inter-mural squash competition has quickly spread to other graduate schools. The School of Public Health has started organizing a squash team, the HLS team has challenged the Business Schools, and KSG students have challenged the Medical School...
...main mural (nine linoleum-smooth color slabstiled three-by-three), when viewed from thedifferent floors, actually appeared to not onlyshine with a soft radiance, but with a certainmagic? Was this a subtlety he had expected? Kellyreplied only with a quizzical look and promptlybegan telling the story of how he, a man of morecolors than words, convinced the judges (who wereactually real U.S. Justices) to choose hisinstallment over the other final entries. As theystood in front of the nine color panels, Kelly wasasked if there was any meaning to his choice ofcolors. In an unexpected incident of repartee,Kelly replied...
...care Ingres took with every last detail of her costume and massive jewelry--the cascading rose-embroidered fabric, the tassels on the bodice--almost defies belief. On the other it harks back in time. Her pose is taken from that of the goddess of Arcadia in an antique mural from Herculaneum that Ingres saw in Naples; whence her bizarre hand, that pampered starfish of flesh. Then there is the profile reflection of her face in the mirror, one of the most discreetly enigmatic "presences" in all painting...
Such was Pollock's problem. The picture in which he broke free from it--and, it now seems, took American art into a larger freedom with him--was the 20-ft.-wide mural he did for Peggy Guggenheim. He painted it in one outpouring rush, in a day and a night. Mural isn't by any means an abstract painting. It retains the essence of subject matter shared by most "classical" murals, from Giotto to Matisse--the projection of human figures on a large plane surface. But the movement isn't suave. The figures are arabesques, coiling, jammed together, recognizable...
...ability to get the whole surface moving would have deep results for his later work, and afterimages of Mural would keep reappearing right up to the slanting "poles" in his last great canvas, Blue Poles: Number 11, 1952. The two pictures have something else in common: they remind you how Pollock, whom we tend to think of as a web-weaving, linear artist, was also a real colorist, idiosyncratic and original. There is something vulgar about the palette of Blue Poles, with its giddy dance of aluminum paint and hot orange, but it is the kind of vulgarity that fairly...