Word: yellow
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Dates: during 1980-1989
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...point, I kept a color-coded calendar on my desk (numerals highlighted in green ink for 'good' days, red for 'bad' days, yellow for `iffy' days) as an aid to remembering when it was propitious to move the President of the United States from one place to another, or schedule him to speak in public, or commence negotiations with a foreign power," Regan wrote...
Dolores Bennett calls them her children. There are more than a thousand of them by now, young people who grew up on Detroit's mean streets but flourished inside her tidy yellow frame house on King Street. It was in 1964 that Bennett, now 55, began her work. "I started seeing a need for something in our community to keep my children busy," she explains. "I started with a small group of kids and asked people in the neighborhood if we could mow their lawns or pick up their garbage or go to the store for senior citizens...
...paint (and the wood) is another matter. Where does that peculiar, dense, purply brown shading of Picasso's early work come from but the bodies of Gauguin's Tahitians? Most of early Matisse seems present in the twining lines and harsh dissonances of red, yellow and green with which Gauguin pictured himself 15 years before in the sardonic Self-Portrait with Halo, 1889. Gauguin's sculpture and painting were basic to German expressionism, and even Henri Rousseau seems to have based his Sleeping Gypsy on Gauguin's goose-pimply image of erotic shame, The Loss of Virginity...
...Mary Cassatt's moppets. After ten years of work in Paris, Brittany and with Van Gogh in Arles, Gauguin was making his first real masterpieces, like The Ham, 1889, a still life that pays homage to Cezanne and Manet while equaling both in its rigor and sensuousness, and Yellow Christ, 1889, with its startling extremes of yellow and orange. This painting of peasants adoring a wayside crucifix was also, perhaps, an allegory of Gauguin's opinion of himself: Christ's face is his schematic self-portrait, and the Breton women may stand for Gauguin's followers in Pont-Aven...
This scheme gets in the way when, instead of simple, flat images, he tackles scenes with a deeper space. In a painting like Battery May 5, 1986 -- black, smudgy figures on a promenade in lower Manhattan, a plunging perspective of lamps on the seawall, a livid yellow sky -- the recession is brusquely contradicted by the surface grid of vinyl tiles; the image struggles to break back from the picture plane but cannot. It is a self-canceling effect but not an interestingly perverse...