Word: parkes
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Dates: during 1990-1999
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...side, the 400 freestyle relay of P.J. Thum, Dan Barnes, Chris Park and Adam Shaw captured first with a time of 3:08.92. The 200 medley relay also captured first with a time of 1:35.51. The team consisted of Dan Bazylewicz, Shaw, Marek Biegluk and Thum...
...entertainment. Unlike most of the other big productions of the year, it is neither a sequel nor the launching point of a series of sequels. It is not based on a comic book. It was not designed to spawn a vast array of toys, merchandising, video games and theme-park attractions. It is an earnest and heartfelt work. But the same voices that decry the formulaic commercialism of mainstream Hollywood product do not seem to applaud the studio heads who had the courage to back this unusual film...
...strong overtones of landscape space and color. A considerable influence of Willem de Kooning bore on it. De Kooning, Diebenkorn felt, "had it all, could outpaint anybody, at least until the mid-'60s, when he began to lose it." But Diebenkorn's friendship with the Bay Area painter David Park, who bravely refused to accept the reigning dictum in the American avant-garde that radicalism had to mean abstraction, pointed him still closer toward the figurative...
...hindsight one can see the components of his culminating achievement, the Ocean Park series, forming in a small, early landscape like Seawall, 1957. First, the clear marine light that seems to bathe all the forms, whether sharply cut (the tawny beach and wedges of black shadow on the left) or vaguer (the tract of scribbled green grass on the right). Second, Diebenkorn's decisiveness about tonal structure and the way sharp contrast can be used both to hollow out the space of the painting and to create a firm, flat pattern. And third, a breezy lyricism of feeling that...
...climax of Diebenkorn's work was, by general consent, the Ocean Park series, which he began in 1967. Ocean Park is part of Santa Monica, the beachside suburb of Los Angeles where he had his studio. From its high crystalline light, its big calm planes of sea and sky, its cuts and interlacings of highway divider and curb and gable and yellow sand, Diebenkorn produced a marvelous synthesis that, though prolonged through more than 140 large canvases, had very few weak moments...