Word: gnomic
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Dates: during 1990-1999
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...distinguished one. Jerome Kern's 1985 centenary cued half a dozen glittery restorations. In London an ambitious series called Discover the Lost Musicals has flourished since 1988. The same year, Daykin produced concert versions of two Gershwin musicals, as well as an all-star tribute that featured a gnomic rendition of Soon by Bob Dylan. ("Did he hit even one right note?" Daykin asks today.) When she came to City Center in 1992, she brought the concert-revival idea with...
Occasional verse for such magazines as the Atlantic and the New Yorker has earned Adair in recent years a coterie of fans (other poets notable among them). One dazzled critic (Eric Ormsby) has called her "the best American poet since Wallace Stevens." Adair is less gnomic than Stevens, more passionately personal; even on dark themes, her writing, like his, has the elegant fizz of brut champagne...
...runs into the thousands. Occasional verse for such magazines as the Atlantic and the New Yorker has earned Adair in recent years a coterie of fans (other poets notable among them). One dazzled critic (Eric Ormsby) has called her "the best American poet since Wallace Stevens." "Adair is less gnomic than Stevens," says TIME's John Elson, "more passionately personal; even on dark themes, her writing, like his, has the elegant fizz of brut champagne." One terrible night in 1968 Douglass Adair, then a teacher at the Claremont colleges, walked into their bedroom and killed himself. His widow's agony...
...free zone" in New Mexico. Writer-director Todd Haynes, who made the importantly weird short film Superstar: The Karen Carpenter Story and Poison, a minimalist epic of sex and longing in the age of aids, again has decay and estrangement in mind. This scarily confident, beautifully acted study is gnomic and anomic, like a TV disease movie made in an alternate universe. And in Moore's pretty, aggrieved face, Haynes finds the ideal vessel for his concerns...
...therefore a kind of guru to artists who seek gnomic "enactments" of pain, are obsessed by splits between private and public identity--including their own feelings of victimization--and treat the body as canvas. Not for nothing does one of Nauman's video pieces feature a bewildered rat in a Plexiglas maze, scuttling about under the bombardment of rock drumming. It's Nauman's idea of the relationship between artist and audience. The artist as hero is long gone from American culture, and the artist as social critic is ineffective, but Nauman, with the example of Dada before...