Word: painting
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Dates: during 1970-1979
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...boom. The inequity of such laws has been that, if the artist gives his own work to the same museum in the same year, he cannot claim its fair market price as a write-off: all that the IRS gives him back is the cost of canvas and paint. The unfairness is compounded when the artist dies: the state then assesses the paintings in his estate at their highest market value and makes his heirs pay tax on that. This may be why the geese are not cackling with rapture as they lay golden eggs for others. A dull thump...
...white 1978 Chrysler Newport so fast, it would have been easier for the big-city reporter to unravel the mystery that is still swirling around this little town. Because if the reporter had been able to examine the Chrysler, he might have found tell-tale traces of paint. And according to Gertrude Baker, the paint happened to be there because an outraged neighbor splattered it on the car after Dominique Wilkins, her son by an earlier marriage, decided to enroll in the University of Georgia last spring...
...bridge connects Boston and Cambridge. They call it the Harvard Bridge. The bridge is calibrated in marks of orange paint, saying: 75 Smoots...100 Smoots...150 Smoots...200 Smoots...360 Smoots and one ear all the way to the MIT campus with its swelling Greek temples and plate-glass buildings. The buildings have no names; they are numbered...
Then you notice the rest of the set--boards with crudely drawn small black stick figures and gruesome masks. The remaining surface of each panel is painted light blue, except for the splotches where white boards shows through. You think to yourself that they are trying to give the impression of a hastily-done, sloppy paint job--until you realize that it is a hastily done, sloppy paint job. So you sit back and wait...
...more easily pictured flogging cats than seducing women. Raimondi fits in well with Losey's class-conscious interpretation of Da Ponte's text--he sees Don Giovanni as the consummate self-indulgent aristocrat. There's nothing wrong with coloring the opera this way, but Raimondi and Losey paint over and obliterate the other half of Don Giovanni's character, the youthful embodiment of unbounded energy who mesmerized the romantics. They do Mozart and Da Ponte an injustice by simplifying the libretto's psychological tangle to a black-and-white social dialetic. Figaro would have better served such an intent...