Word: complexities
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Dates: during 1990-1999
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...years of painting, he has exploited the possibilities of all of these themes extensively. His lecture was basically a retrospective of his work, presented as it would be perceived through those thematic filters. In presenting the straightforward artistic qualities of his work, Colescott couldn't resist discussing the complex political issues his work reflects...
...embracing the instrument most of the time. The music itself was harmonious and regal, conjuring images of royal courts, Shakespearean plays and village fairs. Especially enjoyable was "Gagliarda," by Carlo Gesualdo, which according to Lawrence-King contains "entirely enough ornamentation," and was filled with trills and other complex forms of auditory decoration. The most engaging piece was an improvised "Paradetas" at the end of the first half of the concert. The piece was lively and quick, with a catchy, easily discernible melody and much "percussion," which was accomplished by hitting the wooden body of the harp...
...former have him in his own movies, playing the Doctor Frankenstein to Boone's Monster and vice versa. Shot in retrospective monochrome, the film here manages to capture the beauty of Whale's movies without distracting the viewer from the matter at hand--Whale and Boone's increasingly complex relationship. Similarly, the flashbacks to the war, and to Whale's wistful memories of "love in the foxholes," are masterfully done. Alas, these all have the ulterior motive of emphasizing the film's already overweighted point: that gods are monsters, monsters are gods, and filmmaking, war and homosexuality are really...
...piece a contemporary homage to the music of Les Baxter, Henry Mancini and John Barry, but Elevator Music also sounds distinctively Gershwin. Moreover, there is a peculiar consistency in Elevator Music that is hard to find in many modern pieces. Rather than the "degradation" of common time into complex and quirky meters, Koehne sticks mostly to the tried and true 4/4 time signature...
Samuel Bak lavishly paints the memory of the Holocaust through a cascade of painful hues and poignant images in In the Presence of Figures. His vision of history unveils the Jewish experience through the eloquent layering of a complex iconography subtly placed within his landscapes and portraits. Bak is not only the creator of breathtaking work, but also a survivor of the Holocaust. The themes and variations of his artwork reflect the inhumane environment which he endured. Born in the Polish city of Vilna (present day Lithuania) in 1933, Bak felt the presence of danger throughout his childhood. His drawings...