Word: spaced
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Dates: during 1990-1999
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...online form also offers a space in which students reporting cards as stolen can include any information about the theft, which is immediately sent to HUPD as well...
...feet of canvas was allowed to shed its synthetic cocoon. For those unfamiliar with the enormous scale in which Rothko worked, this area refers not to the mural series as a whole, but rather only to a single panel, Panel #2 in this case. Three rectangles floating vertically in space connected at top and bottom by tensioned weights, Panel #2's chromatic range is now a pale blue denim rinse. Before its deterioration, the painting was of a fabled crimson complexion. Rothko's Harvard murals have been deemed "damaged goods" by the cynics, but more optimistic critics would...
...Fellows, approached Rothko with a proposal to donate his artwork for the society's new meeting place, the penthouse of the Holyoke Center, to be designed by noted architect Jose Luis Sert, who also designed the Science Center and Peabody Terrace. Rothko, enamored with dreams of creating a public space with his artwork, was eager to bring this vision to fruition. Ideally, Rothko preferred that the viewer stand a mere 18 inches away from the surface of his paintings, so that his glowing canvases governed even peripheral vision. And still, what would be even more visually encompassing than to have...
...Though his method of directing actors is famously loose and free-form, Jordan meticulously controls the technical aspects of the filmmaking process: "I prepare everything-all the lighting situations, all the camera moves-prepare as much as I possibly can, and if you are that prepared you create a space where the actors can function better." But does all of this control during production give the director an idea of how a film will do commercially? "Haven't got a clue." Critically? "Haven't got a clue either. This is an adult movie, and it deals with themes that...
...rural social philosophers seem as though they could just melt into the landscape, and you have a two-hour-long painting on the stage. Yeremin's staging makes every use of this artistic ingenuity. His actors move more like dancers than farmers. Yeremin has a brilliant sense of space, horizontal and vertical. The simple act of swinging in a hammock becomes a study of one man's motion across an empty plane. In Yeremin's hands, the A.R.T.'s corps of performers become points in space--tiny, beautiful additions to the landscape, like the figures in a Hiroshige print...