Word: chins
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Dates: during 2000-2009
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Libeskind's $135 million addition to the ROM, called the Michael Lee-Chin Crystal after its lead donor, is resolutely unlike anything Toronto - or most cities - has seen before. To begin with, it doesn't look much like the original building, which is actually two buildings: a yellow brick structure from 1912 that was overtaken in 1932 by a weighty limestone addition in a Beaux Arts style with trace elements of the Gothic and Baroque. Libeskind's Crystal bursts from the old museum's limestone in pointed shards of anodized aluminum. It touches the ground with the jagged footprint...
...Jones, a very appealing performer in concerts and interviews, is herself half-Asian (her father is the celebrated Indian sitarist Ravi Shankar), and thus fits snugly into the Wong Kar Wai iconography. We see her, chin on hand, staring sadly into the middle distance; and Wong shows this not-very-much-happening in his patented dreamy slo-mo. Jones also has a similar background to many performers from Wong's Hong Kong films: Leung, Leslie Cheung, Faye Wong, Andy Lau, Leon Lai and dozens of others were Canto-pop stars before they were accomplished actors...
...nothing more interesting than to see the phenomenal juxtaposition of modern ballet set to old-fashioned music—and to see dancers finding the modern rhythms in that music as successfully as they did in “Bach Suite.” The pairing of Lauren E. Chin ’08 and Joanna R. Binney ’08 was visually stunning, with stellar turns, impressive footwork, and great unison. With this perfect choreography, excellent execution, and beautiful costumes, “Bach Suite” was the most spectacular performance of the night...
...facing profiles of the Duke and Duchess of Urbino are iconic Renaissance images, especially the Duke, Federico III, one of the Renaissance's most accomplished condottieri, or mercenary barons. Painting with brilliant color and unfiltered realism, Piero doesn't blink at the prominence of Federico's nose and chin, but he never crosses into caricature. His approach gives Piero's portraiture a strikingly modern aspect. "It is almost hyper-realism," Bertelli says. "The faces are gigantic compared to the background landscape, making them monumental." The same attention to character is evident in his frescoes. La Madonna del Parto (The Pregnant...
...take it on the chin one weekend and its going to hurt for a while,” Donovan said...