Word: cunningham
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...encounter," like Jim Lambie's jazzy floor of multicolored vinyl tape that follows and magnifies the pillars and doorways of a double-height gallery. In contrast, Susan Philipsz's art is meant to be overheard - a tune picked out clumsily on a piano; her own voice singing mournfully. David Cunningham's A Position Between Two Curves picks up ambient sound and builds it up through feedback until it reaches a certain pitch of loudness. Like Ceal Floyer's Bucket, which "catches" a recorded drip, this could be encounter by irritation. The show will continue to serve up a feast...
...says, "There's an audience for that. There's a lot of us out there." Scott Rudin, The Hours' producer, sees the Christmas-to-Valentine season as "a good time for movies that aren't entirely aimed at teenage boys." Playwright David Hare, whom Rudin hired to adapt Michael Cunningham's novel, notes the glut of year-end prestige movies: "All the intelligent films come out at exactly the same time, because they're thought to be Oscar material. And the more intelligent films are more likely to have good roles for women...
...imagine this intricate intertwining of historically and geographically separate lives working as a literary conceit. Indeed, Michael Cunningham won a Pulitzer Prize for it with his novel The Hours. While a reader can imagine Woolf and the others, a movie must literally flesh out fictional creations, and so a certain unfortunate literalness of presentation creeps into the picture. Watching The Hours, one finds oneself focusing excessively on the unfortunate prosthetic nose Kidman affects in order to look more like the novelist. And wondering why the screenwriter, David Hare, and the director, Stephen Daldry, turn Woolf, a woman of incisive mind...
...more easily than can the author of a news story. Especially in a case like Keating’s, where the image provided anecdotal color rather than documentary evidence of news, is a photograph ever anything more than “information that is manipulated?" Brent Cunningham, managing editor of the CJR and one of the leaders of an inquiry into Keating’s photo, echoed this question. “There’s an evolving definition of what’s acceptable,” he told me. “When you?...
...this is the real problem: presently there is only a vague system in place for ensuring that news photographs that fall into what Cunningham repeatedly referred to as the “gray area” of illustration are identified as such. In this case, the Times’ initial inquiry ended in a mire of conflicting accounts. The inquiries, moreover, only began after tips were received from other photographers who happened to witness the action—an unreliable system at best...