Word: croce
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...academia: the intellectual war game, clarifying issues by talking them to death. The current fracas is the biggest since the obscenity debate over Robert Mapplethorpe's photography. It pits one of the country's most brilliant and respected critics against one of its most daring and respected choreographers. Arlene Croce is the New Yorker's dance reviewer; no American arts critic is more admired-or more feared. Bill T. Jones is a modern-dance choreographer; handsome and outspoken, he has always drawn extreme love-him-or-hate-him reactions...
Jones' concert, as he calls it, opened a new front in the continuing culture wars. In the year-end issue of the New Yorker, Croce wrote a piece, titled Discussing the Undiscussable, in which she declared that she would not review Still/Here-would not even see it-because she considered the show beyond the reach of criticism: "The cast members of Still/Here-the sick people whom Jones has signed up-have no choice other than to be sick." By presenting them on videotape, she reasoned, the choreographer has "crossed the line between theatre and reality. I can't review someone I feel...
...lyrics bear down sharp but easy, perhaps because he came to country by a slightly different route. "When I was eight, I started collecting records," he remembers. "But it was the rock stuff that my older brothers had exposed me to. Then I got into Loggins and Messina, Croce, Buffett, Jackson Browne and James Taylor." He's had a total of one professional guitar lesson, and all it did was make him impatient. He just kept his eyes open around his hometown, where "there was always somebody with a guitar. I learned that with three chords I could transpose just...
...Lovely Day?) and on roller skates (Let's Call the Whole Thing Off), and used an entire country club in The Yam number, which for compressed intricacy may have been their most heart- stopping routine. But more than skill and wit informed their partnership. Rogers, as Critic Arlene Croce said, offered Astaire a "genial resistance," bringing out "toughness" and "masculine gallantry" and, one must add, his narrative skill. Their best pas de deux tell full romantic tales: challenge, hesitation, soaring consummation, wistful afterglow...
...pair of gold finials, the whole enclosed in a sketchy cage -- homage to an original that Bacon firmly denies having ever seen, the Velasquez portrait of Innocent X in the Doria collection in Rome. There are the Crucifixion motifs, reflections of Grunewald and the Cimabue Crucifixion in Santa Croce that was partly destroyed by the 1966 Florence flood, whose sinuous and near boneless body Bacon once startlingly compared to "a worm crawling down the Cross." There are the humping, grappling figures on pallets or operating tables; the twisted, internalized portraits; the stabbings, the penetrations; the Aeschylean furies pinned against...