Russia’s Destruction of Ukraine’s Environment has National and International – and Personal – Consequences by THE FRONT Memories of ‘Phantom Utopias’ Are Paving the Way for Fascism Around the Globe  by History Bites Fighting Fires: A Win in Wisconsin and Cory Booker’s Stem-Winder Encourage Democracy Marchers by SOUNDS OF THE CITY So Angry You Could … Sing? by SOUNDS OF THE CITY Rocking the House for Tibet House  by BOOKS Long Before ‘The Godfather,’ Mario Puzo Put the Unspeakable Into Print by FILM Review: A ‘Bonjour Tristesse’ Update Swoons Amid Riviera Vacation Porn by Theater In ‘Just in Time,’ Jonathan Groff Shines as Bobby Darin  by Onlyfans 1961Yares GalleryYares GalleryJules Olitski (1922–2007) was born in Snovsk shortly after his commissar father was executed by the Soviet government and when Olitski was in his teens he received classical art training having been influenced by Rembrandt paintings he saw at the 1939 New York World’s Fair the young immigrant was studying life drawing and portraiture at the National Academy of Design but also to the clarion compositions of the burgeoning Pop Art movement the 10-foot-wide Fair Charlotte (1961) might be cells dividing or celestial bodies locked in close orbits The right disk could be a cut-away scene of a planet The rusty ring around the dark blue center of the left-hand orb just kisses its companion adding formal exuberance as they seem to rumble around the burnt yellow background a brown oval weighted by a red dot plunges down a green The layout is as direct as a subway poster But a triangle of blank canvas in a lower corner echoes an oscillating aura around the olive shape changing object into environment—figure and ground cavorting like acrobats Rubens had the advantage of following the Renaissance, which allowed him to advance on his predecessors’ formal and psychological glories. Similarly, Olitski came along at a time when he could ingest the breakthrough aesthetics of the Abstract Expressionists—their explorations of scale and bodily gesture as well as their quest for inspirations that ranged from the deepest wells of the psyche to nature’s most elemental forces—to which he added his own bright-hearted dynamism.  A massive orange wedge in Wet Heat Company (1963) bears down on a burgundy block that seems the last protection for a small green orb floating in a lower corner, a contest as unbalanced as Sun vs. Earth. Yet shifts of taut edges to softer focus belie the bullying proportions, as the shapes nestle with syncopated grace. Olitski’s paintings were racing at the fore of their moment, as if the artist could see ahead to the vivid patterns and psychedelic biomorphs that would be emblazoned on headshop posters later in the decade. (Indeed, in the 1970s Olitski married Kristina Gorby, a cutting-edge fashion designer whose East Village shop was a mod Mecca in the ’60s—Janis Joplin wore a Gorby creation at Woodstock).  Editor’s note: The headline of this review was changed on March 9, 2022, to note that Olitski was born in a part of the U.S.S.R. that is now present-day Ukraine. Here is how Olitski’s official site puts it: “Jules Olitski was born Jevel Demikovsky, March 27th, 1922 in Snovsk, Russia, (now Ukraine).” NOTE: The advertising disclaimer below does not apply to this article, nor any originating from the Village Voice editorial department, which does not accept paid links. Advertising disclosure: We may receive compensation for some of the links in our stories. Thank you for supporting the Village Voice and our advertisers. Our editors will review what you’ve submitted and determine whether to revise the article Russian occupation forces continued shelling the Ukrainian border The enemy inflicted fire damage with the use of RSVs Znob-Novgorod and Shalygin communities of Sumy and Novgorod-Siversk Snovsk and Gorodnyansk communities of Chernihiv region as well as Zolochivska hromada of Kharkiv region were under enemy fire militants from Russian settlements covered the territory of the Belopil community with mortar fire and in total almost three and a half dozen explosions were heard almost two dozen explosions of shells were heard on the territory of the Krasnopil community The occupiers fired from barrel artillery from the side of the Russian settlement of Kolotylivka the enemy with the use of mortars and barrel artillery twice shelled the territory of the Myropol community in total there were more than one and a half dozen explosions The fire was fired from the Russian settlements of Gornal and Kucherov the occupiers from the side of the Russian settlement relentlessly hit with mortars and barrel artillery on the territory of the Zolochiv community of Kharkiv region there were one and a half dozen explosions the enemy fired 30 projectiles from a volley fire system the enemy attacked Novgorod-Seversk territorial community with various types of weapons - mortars barrel artillery and rocket systems of volley fire in total more than 120 attacks were recorded The parishes were on the territory of private households and an outbuilding was destroyed by fire — a horse was killed On the territory of the Semenovsk community the enemy twice fired from a self-propelled artillery installation - 16 explosions The enemy fired 11 explosions from barrel artillery on the Snovsk community Horodnyansk community was under mortar fire — 8 explosions The Armed Forces continue to defend Ukraine from Russian invaders Press service of the State Fiscal Service of Ukraine We use cookies to provide you with better navigation on our website you automatically agree to the use of these technologies.