Word: triptychs
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...mist an old man's eyes. And just as a player can win a game by coming home, so the old teach baseball memory to the young. Last week a boy stared at a three-panel portrait of Mays, Mantle and Snider; the caption read "Willie, Mickey & the Duke Triptych." Looking up at his mother, the boy asked, "Who is Duke Triptych...
...larger pieces in the exhibition are more ambitious in what they attempt to achieve. Elllsworth Kelly's enormous triptych, Dark Gray, White, Gray (1980) builds on Kline's ideas of figure and ground. Here, the paintings themselves become part of a larger painting, with the wall of the room its canvas. Kelly has broken the barriers of the canvas and expanded the field of space in order to create large planes of pure color--or in this case, pure shades. Louise Nevelson blurs the lines of sculpture and painting in Study for Sky Covenant (1973) and Total Totality. She frames...
Last year, Danny Rimer '93, Mathew Lee '92, and Matthew Butterick '92 were agitated by what they termed the trendy, upper-East-Side art propagated by Harvard's Triptych, (a group which had been in existence for three years) and conceived of Agitprop as a means of providing an alternative approach to cultural awareness. Simply put, Agitprop aims to mobilize interest in the arts at Harvard. Rimer explains that the most effective means to this end is to "coerce a response," and indeed, their events are designed to seize attention and elicit an emotional reaction...
This exhibit consists mainly of large scale abstract paintings, including several diptychs. In them, Bush explores color and paint texture, and the result is a lively and captivating compilation. A number of these pieces have been displayed individually at the Triptych Student Gallery over the past year. But the viewer may better appreciate Bush's craft here, because when several of her works are presented together one can grasp their relation to each other...
...series pieces (a number of diptychs and one triptych) are characterized by an even field of brush strokes, heavy layering of paint and the lack of focal point. In a lesser artist these techniques would seem hackneyed and dull. But Bush's individual brush stroke and dynamic use of color eliminate the potential problem. For example, Untitled I shows a spectrum of vibrant colors painted in brisk, assertive strokes which cover two canvases. The resulting piece has neither a central form nor dominant color. Instead the interplay of colors and the rich texture spread equally over the work, leading...