Word: visualizing
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Dates: during 1980-1989
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...that these many-splendored displays give the designers a hard deadline to fix on. "They're an exam, an essay, a résumé," agrees Gianfranco Ferré. "They mean I have to get my point across in 20 minutes." The point can become blunted by both visual glut and fashion overkill, however. When the eight weeks of fall fashion previews are over, a member of the fashion corps could easily have seen more than 100 different shows, some pitiful and many derivative...
...START of the performance, the audience and cast are crowded in the dark in a tiny lobby outside the theater itself. Suddenly spotlights find the actors. The dialogue and an assortment of clever visual tricks begin. This goes on for quite a while, and the audience cramped and uncomfortable, begins to wonder if the entire play is to take place in this dark packed subway car of a lobby. Some people, unable to handle the jostling, nervous potential stampede, actually leave. Just as the audience begins to feel really anxious, the cast members open the doors to the theater...
...lovers picnicking on the grass and gamboling by a stream. Later, a spurned Domingo angrily drags Stratas down a long corridor, bursts into a crowded salon and throws her to her knees as the trombones sound a brusque challenge. It is a chilling moment in its combination of visual image and musical statement, and one that cannot be duplicated in the opera house...
...that legacy was divided and spent, who used it and for what, who spurned it and what the visual arguments about it were-these are the inquiries of an extraordinary exhibition of 113 paintings that opened last month at the National Gallery of Art in Washington, D.C., and will run there until May 1 and then travel to Paris' Grand Palais. It will not be seen anywhere else in the U.S. "Painting in Naples 1607-1705: From Caravaggio to Giordano" is a smaller, edited version of the exhibition that was seen in 1982 at the Royal Academy of Arts...
...John Evelyn wrote of, "generally well-featured, but excessively libidinous." Even still lifes by artists like Paolo Porpora and Giovanni Battista Recco have the swollen intensity of painting infatuated with the surface of the world. However, Recco's picture of objects on a kitchen table, grouped around the visual pivot of a Delft dish, is so exquisitely designed and so full of severe visual rhymes and harmonies as to rival the best bodegon paintings of Zurbaran...