Word: decays
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...Rupak Bhattacharya ’05, who delivers a poorly-written monologue very well), prostitutes (Alexandra C. Palma ’08 and Carla M. Borras ’05) junkies and others in creating a convincing atmosphere of 1960’s urban decay. Three standout supporting actors are uniquely worth mentioning. Bobby A. Hodgson ’05 is wonderfully frenetic as the aptly-named Dopey, who delivers a sparkling and drug-crazed monologue, and Josh C. Phillips ’07’s burnt out heroin-addict Fick is both hilarious and sad. Scottie Thompson?...
...enemies. Not far behind him looms the grisly god of the underworld, Mictlantecuhtli, circa 1480, his rib cage exposed and his liver hanging out. The pair encapsulates some of the dualities that created a dynamic tension throughout the Aztec worldview: war and death, light and darkness, power and decay...
...Africa and India; then in the 1980s and '90s he saw that trouble was brewing in the Islamic world. Naipaul's journalism of crisis was engaged most profoundly with India. On his first visit there, in 1962, Naipaul found the country "an endless repetition of exhaustion and decay." When he came back to India in 1967, he wrote: "The absurdity of India can be total." India, he said, had borrowed words like "democracy" and "science" from the West, but Indians were miming these words without knowing what they meant. In 1975 he visited again, railing that India?then...
...late-'20s New York City. Though the city was booming, Evans was filled with ambivalence about a metropolis where billboards and skyscrapers jarred with the lowlife of the city's drifters. Torn Movie Poster, for example, captures Evans' wider sense of national doom: a mass-produced image tarnished with decay. The exhibition also shows off Evans' study of architecture in the American South...
...late-'20s New York City. Though the city was booming, Evans was filled with ambivalence about a metropolis where billboards and skyscrapers jarred with the lowlife of the city's drifters. Torn Movie Poster, for example, captures Evans' wider sense of national doom: a mass-produced image tarnished with decay. The exhibition also shows off Evans' study of architecture in the American South. For Alvarez Bravo, it was Mexico City's postrevolution population boom in the '20s that afforded perfectly constructed images of street life, or what the photographer dubbed the "food for my camera." The ordinary soon became...