Word: staticity
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Ward further explores the relationship between light and man in the next work, The Rev. Robert walker, Skating (1993). However, this time, he expands the scope of the work to involve the viewer--the physical, real human--rather than simply providing a static image of human interaction seen in the first work. The image is projected on a white wall at the entrance to the gallery. By opening the doors and letting in light, we momentarily disrupt the picture. Ivan Gaskell best describes the scenario in the exhibition's catalogue, "[W]e are playing our part as performers as well...
Also problematic for the procuction was its rather small stage, where its 29 members were frequently assembled. While the size constraint often made the ensemble scenes appear static, the enthusiasm of the actors and occasional inclusion of dance piece helped lighten the mood...
STRUCTURAL DESIGN. Structural engineers emphasized two simple guidelines: for houses, flexible wood is better than static brick; and for large buildings, steel is far superior to concrete, which, no matter how much it is reinforced, can crumble like stale cake. "It's quite simple: if you want to be safe in an earthquake, the best thing you can do is build in steel," said engineer Peter Yanev, president of EQE. He pointed to a relatively new concrete parking structure that collapsed at the California State University campus in Northridge and to two adjacent multistory garages in Sherman Oaks...
LITTLE MORE THAN A DECADE ago, opera in the U.S. was regarded by many as an outdated European cultural import that held little relevance for contemporary Americans. Beset by high production costs, disastrous deficits, a declining talent pool and a static, aging repertory, American opera companies seemed to be the dinosaurs of arts organizations. In the past few years, however, a string of important and popular new works by composers as disparate as John Corigliano, Philip Glass and William Bolcom has helped improve opera's artistic fortunes. At the same time, audacious native-born stage directors like Peter Sellars...
Rothko's large soft-edged squares seem to vibrate when absorbing the brilliance of his colors. The Black and the White (1956) is a purely optical experience, as the impenetrable white square and a smaller, opaque black square thrust and recede simultaneously. A static red rectangular form sits atop the white square, emphasizing the purity of its whiteness. Rothko's other work in the show, Untitled Brown and Gray (1969), has similar effects. However, he explores the density of the colors; the squares are more saturated at the connecting border than they are at the edges. This uneven concentration...