Word: javier
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...artist named Ronald Ventura sold a striking, surrealist-inspired painting entitled Nesting Ground for $280,000, 20 times higher than its presale estimate. The emergence of a new trend in Asian art cannot be inferred from a single sale, but works from other contemporary Philippine artists such as Geraldine Javier, Winner Jumalon and Benedicto Cabrera are being sold with increasing frequency and success at auctions and galleries in Hong Kong, Singapore, London and New York City. Mok Kim Chuan, the head of Southeast Asian art at Sotheby's, calls it a nascent boom with room to run. "It took...
...Indeed, it wasn't until the overthrow of Marcos in the mid-1980s that artists were freed of the burden of representing the Philippines. "After Marcos left, the scene exploded and became plural," says Toh. Ranging from the dark paintings of Javier, whose lonely ash-gray landscapes owe as much to film noir as to Manila's inescapable haze, to the surrealism of Ventura, Philippine art has finally become, as Mashadi puts it, "post-ideological." And it is this mature quality that has caught the attention of the Asian art market. Philippine artists today have scattered in their own interesting...
...Javier Bardem, the Spanish hunk who won an Oscar as the killer in No Country for Old Men, was originally to play Guido. When he dropped out, the role went to Day-Lewis, an actor nearly the opposite of Bardem. He's coiled, wary, and has a spirit that's not even slightly Mediterranean. In 8-1/2, Mastroianni was such a natural charmer - so, we have to say, Italian - that he made indolence attractive; in that film, a perpetual sexual adolescence was not a flaw but a goal (especially because women kept throwing themselves at him, and what woman...
Star Quality Broken Embraces could be the title of nearly any Almodóvar film. His people are infirm creatures looking for a little hug that can be therapeutic or redemptive. The paraplegic cop played by Javier Bardem in Live Flesh doesn't shrug off sexual desire just because he's confined to a wheelchair. Almodóvar suffuses his new film with this notion of the crippled seeking help; nearly every plot point pivots on someone's infirmity. The message is clear: we are all invalids who want to walk, if the fates allow, into each other's arms...
Visually, Hillcoat and cinematographer Javier Aguirresarobe play an established post-apocalyptic trick and drain the color from the once-lush forests and mountains that play host to the first half of the story. Only two things interrupt the film’s monochromatic palette: blood and fire, both of which are shot in horribly sharp relief. But Hillcoat and Aguirresarobe refuse to let their limited color range get in the way of shooting a strikingly desolate film, filled with a series of images that seem destined to become iconic. Father and son stumble down a warped concrete road, shattered telephone...