Word: studioful
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Dates: during 1990-1999
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...many audience members, stifled in their attempts to sing along to "Tangled Up," served to demonstrate Dylan's penchant, especially for older songs, to never give the same vocal delivery as in the studio. Part of this, undoubtedly, is the deteriorating quality of Dylan's voice--his already-limited range has only diminished, and his singing, which was never beautiful in the usual sense, has become even more gravelly and ravaged-sounding. Nevertheless, both the new album and this performance showed how Dylan's singing, though sounding worse, is gaining a more powerful effect within the context his songs...
...work's newfound confidence and sophistication probably owes most to the department's shift away from architecture and design towards a stronger studio program. Although I would hesitate to endorse the elimination of design, the redirection of energies has clearly benefited the other studio arts. In addition, VES Chair Chris Killip and Director of the Carpenter Center Ellen Phelan have cultivated an impressive roster of contemporary artists to serve as visiting professors and lecturers. Although these mostly New York imports have been a boon to students and enthusiasts of contemporary art, I had perhaps impatiently questioned whether their presence...
After topics including landscape and the relationship between painting and photography, this year's studio theme, "The Body," emphasizes the contemporary art world's renewed interest in figuration since the late 1970s. This subject has clearly provided fodder for many of the works in the show, which range from earnest and literal to playful and abstract. Small paper mach'e sculptures by Jennifer E. Mergel '98 sprout lively appendages from their baseball or bagel-shaped body blobs. In one, two straining neuron-like beings wrestle or dance with the energetic whipping of their interconnected arms. Nearby, another languishes...
...interrupted by his enlistment in the Marine Corps. This, however, turned out to be a blessing in disguise, since he was posted to Quantico, Va., and while there was able regularly to visit Washington museums, especially the Phillips Collection. One painting there, in particular, got to him: Matisse's Studio, Quai St. Michel, 1916. Though Diebenkorn would continue to meditate on other works by Matisse (and Mondrian, and Cezanne, and Bonnard, and so on through a wide classical-modernist pantheon) for the rest of his working life, this particular Matisse, with its simultaneous inside-outside view, thrilled and inspired...
...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...