Word: blonds
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Pauline (Melanie Lynskey) and Juliet (Kate Winslet) are children of two different cultures. Juliet's father is an English canon, and the girl is blond, worldly, brash; she was hospitalized for lung disease, and has been brought to New Zealand for the climate. Pauline, whose father manages a fish store, is dark and broody; she has leg scars from the ravages of osteomyelitis. Juliet sees their wounds as badges of spiritual aristocracy: "All the best people have bad chests and bone diseases. It's all frightfully romantic...
...might be running from her parents, or she might just be running from herself. She won't really say which, referring in broad strokes to a middle- class background, private schools, piano and trumpet lessons. At 13 she modeled for a local hair salon. "I had such beautiful long blond hair," she says. Now her hair is cut short and tinged with purple dye. She wears a small silver ring in her nose, combat boots and a white T shirt on which she has written with a marker a message to the tourists she panhandles: I'd rather hear...
Sandro (Gabriele Ferzetti), Anna's fiance and something of a corporate sell-out, becomes enthralled by Anna's best friend, the blond Claudia (Monica Vitti). After an initial, ambivalent embrace between Sandro and Claudia in the still mooredyacht, the movie drifts away from the scene of Anna's disappearance and away from Anna herself...
...work is cryptic, devoted to nuance and practically impossible to reproduce. No color plate conveys the way those little scribbles and blots can keep the whitish-blond surface of a big Twombly in coherent tension. Since reproduction creates reputation, this put his work at a disadvantage. Besides, Twombly could not have had less to do with the direction American art in the '60s took toward Minimalism and the iconic blare of Pop Art; being an expatriate counted against him in a New York art world saturated with cultural chauvinism. He had sided with the beautiful Italian losers, against history...
...works of such younger figures as Glenn Ligon and Byron Kim and of David Hammons, their artistic godfather. Hammons, 51, paints or uses found objects to create pieces that raise unsettling questions about the significance of race. For example, after his 16-ft. by 14-ft. portrait of a blond, blue-eyed Jesse Jackson titled How Ya Like Me Now? was installed on a street in Washington in 1989, a group of young black men knocked it down with a sledgehammer. Hammons was unruffled. "They didn't smash it," he told an interviewer. "They anointed...