Word: likes
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Dates: during 2010-2019
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...Baskin-Robbins/Dunkin Donuts combo seemed questionable, but the ice cream itself assuaged any fears that there was intermingling between egg sandwiches and the ice cream. The ice cream was delicious—it tasted sweet like Lizzy’s but the sweetness was more comparable to the natural sweetness of a fruit than the unwholesome sweetness of Splenda. The texture was fairly standard—it didn’t conjure up images of a majestic cow in Vermont, but didn’t get in the way of the experience...
...feel like I’ve done a kind of one-eighty since I’ve come here,” says Rebecca S. Lieberman ’10, describing the evolution of her art throughout her time at Harvard. Lieberman’s final exhibition as an undergraduate will feature selections from her thesis in Visual and Environmental Studies (VES) including “Whitetail Deer, A to Z,” a two-hour video piece...
...material decisions in her sculpture work. “She and I are really different, but I think in the way she approaches talking about art, her work and other people’s work, we speak the same language,” Lieberman says. “I like the ways she critiques; she has the most vast body of knowledge of art and art theory and criticism that I’ve ever experienced. Everything leads me to something...
...sordid one. As the film ends, the plot veers onto such a wild, jolting track that the cheeks redden and the hand flies to cover the gaping mouth. But somehow, though “Cracks” turns out to be a nasty little shocker, it does not feel like trash. In the tradition of other British psychological dramas like 1992’s “Damage” and 2006’s “Notes on a Scandal,” the film is presented so artfully that we are not ashamed to take a perverse...
...work against the film’s value as a piece of engaging cinema. One can easily tire of the brooding, plaintive gazes, and the zoomed-in, sped-up shot of a blooming flower in one scene is simply indulgent. Sometimes “Cracks” can feel like a watercolor painting; still and soft and lacking dashes of exuberant feeling...