Escher/Bacon/Rothko

Certainly, the ceaseless energetic intertwinements of the Escher section could allude to his eye-popping, busy canvases and the large rectangles of white light just might allude to Rothko’s famous wide bands of impeccably applied colors. In the Bacon section, dancers kept distorting their faces and bodies in modest approximations of the bizarre images in Bacon’s portraits: unsymmetrical, shockingly colored and ugly. [more]