Word: willems
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Dates: during 1990-1999
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...Diebenkorn enrolled at the California School of Fine Arts. Over the next several years, he moved between the East and West coasts. His work from the late '40s to the early '50s was essentially abstract, though with strong overtones of landscape space and color. A considerable influence of Willem de Kooning bore on it. De Kooning, Diebenkorn felt, "had it all, could outpaint anybody, at least until the mid-'60s, when he began to lose it." But Diebenkorn's friendship with the Bay Area painter David Park, who bravely refused to accept the reigning dictum in the American avant-garde...
...conservative, dark-suited son of Afrikanerdom, President Frederik Willem de Klerk could not have rocked the political world more when, in 1990, he unbanned the African National Congress, released Nelson Mandela and set South Africa on the road to the end of apartheid and a black-majority democracy. And when De Klerk, who with Mandela won the Nobel Peace Prize for engineering the transition to a new South Africa, surprised his nation last week by announcing that he was retiring as head of the opposition National Party, South Africa had more to reflect on than his role in the historic...
...hard to develop characters we can get behind. Sandra Bullock, of course, is back as Annie, but the combination of pluck and vulnerability that made her so winsome in the Ur-Speed is missing here. This time she exists mainly to get tied up and abducted by Willem Dafoe, an actor who can never quite transcend (or enjoy) his inherent weirdness the way Dennis Hopper does. Jason Patric and his rippling pecs fill in for willowy Keanu Reeves as Annie's protector (and, in this case, lover). He's stalwart and athletic, but fundamentally uninteresting...
...most radical departure in postwar American art was undoubtedly Jackson Pollock's drip painting--those skeins and lashes of pigment falling on the canvas with uncanny grace and energy. But his fellow Abstract Expressionist Willem de Kooning (1904-97) brought into painting a new sense of the contradictions of American culture and made erotic poetry out of them. De Kooning, the "slipping glimpser," as he called himself, was open to a constant stream of momentary impressions: smiles from Camel ads, shoulders from Ingres, pinups and Raphael--high and low, everywhere. In this way he became a bridge to a younger...
...When Willem de Kooning died last week at the age of 92, it did not come as a surprise; he had succumbed to senile dementia years before, and a sort of deathwatch had settled over the art world as it observed, at a distance, the slow sinking of the last Abstract Expressionist. Now they were all definitively gone, the artists who put American art on the world map after 1945: Arshile Gorky, Jackson Pollock, Barnett Newman, Mark Rothko, Robert Motherwell and the transplanted Dutchman who jumped ship into the New World in 1926 and settled in New York...