In lieu of an abstract, here is a brief excerpt of the content:

A No. 1. Top. Daria Dorosh, A PedestrianBridge for57thStreet Between5thand6thA venues,oil pastel and photograph on Mylar, 24 X 34 in, 1985. Having felt the need to cross this busy thoroughfare in the most direct way possible to get to galleries on both sides of the street, the artist sought, with this visualization, to combine art with function in the public realm. No.2. Bottom. Michael O’Rourke,final maquette for Images of Ourselves-Diana, painted aluminum, 15 X 18 X 10 in, 1986. B No. 1.Top left. Anne Vitale, Untit/edLandscape#lJO,oil on canvas, 66 X 54 in, 1985. To accentuate the idea of making a painting aboutlandscape and to allow for the free application of paint, the artist has abstracted and schematized the features and used a non-representational color scheme. There are no shadowsto pinpoint any specifictime of day. No. 2. Right. Bulat Galeyev,twoframesfromPrometei’slumia-music film Spacesonata, 1981.Thefilmsareunusualnot only because of their images but also because of the techniquesused: although black-and-white objects are shot using standardblack-and-whitefilm, the resulting positive film is multi-coloured. No. 3. Bottom left. Beryl Korot, Let Us Make Bricks-1942, oil on handwoven canvas, 65 X 45 in, 1983. (Collection of Chase Manhattan. Photo: Fred Scruton.) The language that is derived from the grid of the canvasishere presented intwoscales. Enlarged aswindowsthroughwhich train tracks may be seen, it spells out the words ‘let us make bricks’, alludingto the ancientstory of theTowerof Babel. Hereit ironicallyrefers to the Nazi phrase ‘arbeit mach frei’(work makesfree), andthusthe dated title ‘1942’. ...

pdf

Additional Information

ISSN
1530-9282
Print ISSN
0024-094X
Launched on MUSE
2017-01-04
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.