Word: criticizes
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Dates: during 2000-2009
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More than one critic has argued that Francisco José de Goya y Lucientes is the father of modern art - a pioneer in his searing portrayal of the dark side of human nature, and in his uncanny ability not only to capture the horrors of his own age but to foreshadow the atrocities to come. If earlier generations have found in the Spanish painter's work clues to their own iconography of despair (The Third of May as a precursor of Picasso's Guernica, the Black Paintings as preparation for images of Auschwitz), the Prado's "Goya in Times...
...Storch join in his teens and then quit? What does EPMD stand for? How many original members of the Wu-Tang Clan are there? Answers one by one, all in good time; bear with me for a word or 800. I’ve been a vocal and unapologetic critic of Yardfest in the past, but I’m in full support of tomorrow’s concert, featuring the Wu-Tang Clan (Gavin DeGraw, I have no idea who you are, but I’ll give you the benefit of the doubt). As for Wu-Tang, it?...
...called Damali Ayo, a black social critic and artist who wrote the book How to Rent a Negro - a satire inspired by the same sentiments as another thing that white people like (#14), Having Black Friends. She thinks the blog, oddly, represents a form of social progress. "I'm really glad that white people are stepping up to critique white culture, because in general white people like to deny that there is such a thing as white culture," Ayo says. And she sort of made me feel better about being enmeshed in that culture. "Stuff white people like is what...
...Critically, too, Dassin was up and down, and then out. He was the first blacklisted director to earn a secure reputation in European films, and under his own name. (Another American exile, Joseph Losey, was making films under pseudonyms.) When the young critic Francois Truffaut saw Rififi, he wrote, "From the worst crime novel I have ever read, Jules Dassin has made the best film noir I have ever seen." Dassin's Euro-movies had a vogue among middlebrow U.S. reviewers, who might have thought he was French. (Pronounce it Zhool Da-saaan.) The hipper critics knew better...
...Charlton Heston is an axiom," the French film critic Michel Mourlet famously wrote in a 1960 Cahiers du Cinema essay so acute and fervid that we have to quote a bit more of it. "He constitutes a tragedy in himself, his presence in any film being enough to instill beauty. The pent-up violence expressed by the somber phosphorescence of his eyes, his eagle's profile, the imperious arch of his eyebrows, the hard, bitter curve of his lips, the stupendous strength of his torso - this is what he has been given, and what not even the worst of directors...