Word: display
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...also, sometimes, uncanny. So much has been made about the rational character of the Pompidou that it's easy to overlook its enduring strangeness, the climate of uneasy feeling it creates as a building disemboweled, with its intestines and even its skeleton on display. Sitting on the broad, cobblestoned (and mime-infested) plaza in front of it, it's not hard to imagine that the underground workings of the city itself have erupted upward. The Pompidou may be high tech, its exoskeleton may be a rationalist's grid, but it strikes a note of ferocious dislocations and forbidden disclosures that...
...handset advertising is expected to soar to $13.9 billion by 2011, according to marketing-research firm eMarketer. The field got a boost on March 27, when Yahoo! became the first major Internet firm to introduce a mobile-ad network, a service that allows companies to more easily place text, display and video ads on mobile-phone websites in 19 countries. Also leading the way are blue-chip brands including BMW, McDonald's and Proctor & Gamble, companies that are experimenting with mobile-marketing campaigns to find cost-effective ways to tap the medium. When BMW launched new models in China last...
...through July 22. Appropriately, it is taking place in the far eastern corner of Tuscany, at Arezzo's State Museum of Medieval and Modern Art and in the surrounding area, which offers a chance to see works on loan alongside some of his best-known frescoes on permanent display in his home region...
...this (necessarily permanent) presence of The Legend of the True Cross in Arezzo, along with other notable Piero works housed in his birthplace of Borgo Sansepolcro and the nearby village of Monterchi, that make the current exhibit so powerful. The unprecedented collection of his six paintings on display - brought in from the Louvre and Uffizi, among other sources - shares the billing with Piero's famous works already residing in and around Arezzo...
...portraits on display offer an intimate look at Piero's skill. The facing profiles of the Duke and Duchess of Urbino are iconic Renaissance images, especially the Duke, Federico III, one of the Renaissance's most accomplished condottieri, or mercenary barons. Painting with brilliant color and unfiltered realism, Piero doesn't blink at the prominence of Federico's nose and chin, but he never crosses into caricature. His approach gives Piero's portraiture a strikingly modern aspect. "It is almost hyper-realism," Bertelli says. "The faces are gigantic compared to the background landscape, making them monumental." The same attention...