Word: triptyches
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...subtheme "disillusioned body," catalog-speak for the deconstruction of the human form. Here Willem de Kooning's grotesque 1972 sculpture The Clamdigger is accompanied by Alberto Giacometti's spare Standing Woman II (1959-60), Pablo Picasso's contorted Women Before the Sea (1956) and Francis Bacon's bizarre 1964 triptych Three Figures in a Room?all demonstrating just how discombobulated a body can be. Around the corner is a group of multiples: Andy Warhol's Ten Lizes (as in Taylor), four of Yves Klein's female torsos from his blue period, four Matisse bas-reliefs of prone nudes...
...interview, Bacon called Picasso's crucifixion scenes "still my favorite of his works." Picasso's oil-on-wood Crucifixion (1930) is a vibrant, surreal retelling of the Calvary story, with cross, nails, lance, weeping women and garments being divided by dice-throwers. Bacon's interpretation, Second Version of Triptych 1944: Three Studies for Figures at the Base of a Crucifixion, ignores all this action - even the cross - and concentrates instead on three anguished black-and-white figures on an orange-red background...
...macabre early 16th century altarpiece when it became "entirely something else"; Bacon claimed he had the idea of first putting figures around the base of the cross, but then "something happened" and he "just tried to make something else." Bacon also applied his Picasso obsession to his Triptych in Memory of George Dyer (1971), a tribute to his model and lover. You'll see visual echoes of Dyer's shadowy profile in Picasso's nearby The Studio...
...Spooky,” channeled lightning with a laptop before a sold-out crowd in Sanders Theatre Friday night. He edited Griffith’s silent epic—live—interspersing dance clips from choreographer Bill T. Jones, projecting the remixed footage onto a massive triptych backdrop, and all the while turning tables to produce a tuneful blues base...
...followed his grad-school girlfriend across the border and there runs into a fellow refugee, Dona Vera, who presides over a salon of sorts called the Hacienda de la Soledad, concealing her European past behind flamboyant displays of Indian folklore. In the third panel of the narrative's triptych, we travel back to 1910, when the British came to the area to exploit its mines and miners. That one of them, caught up in the revolution, was Eric's grandfather bears out the traditionalist's truth that time moves not forward, but around...