Word: abstracted
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Dates: during 2000-2009
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...confounding part of the notion of social sin. Sin, unlike crime or folly, is a spiritual notion: for Muslim or Jew or Christian, sin is the saboteur that keeps us from grace, separates us from God. The new list is about what separates us from one another; it makes abstract the failings that once were intimate and in the process may make sin smaller, not bigger or more relevant. Private faith already speaks to public duty, as Mohandas Gandhi suggested with his version of the seven deadly sins: "Wealth without work, pleasure without conscience, science without humanity, knowledge without character...
...scenes of suburbia at its most prosaic, or of San Francisco streets at their most matter-of-fact and unpicturesque. It's customary now to compare him with Edward Hopper. Like Hopper, Bechtle has a gift for finding the melancholy note in sunlight itself, as well as for the abstract underpinnings of the world. In Six Houses on Mound Street, 2006, with its stark cubes and fretwork of painted crosswalks, the workaday scene seems to be held in place by the guy-wires of some enigmatic order...
Then there are Joe Bradley's big bright canvases, such as Cavalry, 2007, which combine the resolutely abstract boxes and rectangles of Minimalist and color-field painting into cartoon-character formations. It's a bit of an art-history joke, and one that sculptor Joel Shapiro played with more than 20 years ago in 3-D. But Bradley's ferocious colors and color contrasts give his work a weirdly commanding presence, one made weirder still by all those infantile silhouettes...
...three female choreographers, merged classical East Indian music with that of Western composers for her score. The merger directed the movement. Dancers displayed quick, sharp footwork, but then surprised with slower, sensuous pair interactions. The piece culminated in a kinetic explosion. Set against the backdrop of an abstract expressionist painting, the corps and the principal dancers responded almost instinctively to musical cues. They splattered and dripped with the flick of Pickett’s brush...
...know. This isn’t a history of the Central Intelligence Agency—most of the figures interviewed only discuss the post-9/11 political climate—but doesn’t lack a narrative backbone. The filmmakers gracefully walk a fine line between exploring the abstract elements of secrecy and the real consequences of disclosing secrets. As one interviewee tells us, after the Islamic Jihad Organization (IJO) bombed the U.S. Embassy in Beirut in 1983, details of the National Security Agency’s efforts to track the IJO were leaked to the press...