Word: actualizing
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Dates: during 1990-1999
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...then, Rauschenberg had stopped making his work from actual objects and was using overlays of silk-screened photos, an idea he got from Andy Warhol. The paintings--like Estate, 1963--that won him the grand prize at the 1964 Venice Biennale, with their high, bright color and rapid shuttle of images, conveyed an extraordinary impression of the electronic image glut that comes from TV. Through silk screen, Rauschenberg could now compress fragments of events as well as things into his work, giving it a heightened, broken-up documentary flavor--history painting for channel surfers...
...most interesting figure in this disjointed, unconnected ensemble actually turns out to be that of the "real" Jerome, Vincent's sullen, wheelchair-bound double, who drops hints of injuries beneath the surface that existed even before his actual accident. In fact, the most gripping sequence in the movie involves a painfully drawn out demonstration of Jerome's, not Vincent's, force of will. It is also Jerome's final act, in a ghostly mirroring of Vincent's, that saves the ending from outright banality; the image he leaves--of a silver medal flushed to gold--is arresting, if not terribly...
...preadolescent children diving into a swimming pool with Sharon Olds' recitation of her poem of the same name. But "Sex Without Love" is not so sophisticated cinematically as the other two films shown, and the result seems a bit more like a home video soundtracked with poetry than an actual cohesive performance. In addition, Olds' words are spoken much too solemnly for the context of the visual images and, indeed, for the message of the poem itself. With lines like "faces red as steak" and "gliding over each other like ice-skaters over the ice," the piece deserves a more...
...empty. Milton's penthouse exudes an atmosphere of slick, menacing, kinky-campy decadence--it's Hugh Hefner meets the Marquis de Sade. Hackford is smart enough not to let the cinematography get in the way of Pacino: as Milton, the actor is his own special effect. And when the actual special effects--including a wall sculpture that comes to swarming, slithery life--do appear, they pale in comparison to Pacino's "hoo-ha" rambunctiousness...
...into the genre of "Action." Each movie has a five-category pictography rating "Violence," "Profanity," "Babes," "Cool Cars" and "Hero Worship." The critiques themselves include segments entitled "Why Guys Love It" and "Honey, You'll Like This Movie..." that supposedly encourage bridging the gender gap--until you read the actual reasons one is supposed to offer his girlfriend or wife...