Word: mural
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Wings of Desire works hard to be both an essay and a love story, a mural and an intimate portrait. To savor this film, the viewer must work hard too. But when the artists behind the screen and the angels in the audience meet, it's like a smoke and coffee: fantastic...
...tacky mural of the Lower Manhattan skyline served as backdrop. The band's version of Theme from New York, New York compensated in decibels for what it lacked in finesse. The ballroom of the thoroughly lived-in Omni Park Central Hotel was too small and too warm for the hundreds crammed together like rush- hour commuters on the A train. But the atmospherics last Tuesday night mattered not at all. Chants of "Duke! Duke! Duke!" alternated with cries of "Let's go, Mike!" And when Michael Dukakis paused before speaking, his usually constricted smile was as broad and welcoming...
...Aria's episodes can be considered briefly and passed over, like the bacon bits at a sumptuous salad bar. The connecting sequence, by Bill Bryden, takes way too long to let John Hurt dress up as Pagliaccio. Charles Sturridge's essay for La Forza del Destino -- an urban mural of children's faces -- is all dour style, a Bugsy Malone in Nighttown. The Bruce Beresford segment, from Erich Korngold's Die tote Stadt, is content to watch two young people disrobe in an English mansion. Robert Altman had the inspiration to show a restless 17th century audience at Rameau...
...works by Michelangelo, Raphael, Caravaggio, Veronese and Van Dyke. Simon estimates that 700 paintings by these and other masters were sold, and eventually found various ways into the world's museums. One immovable prize was the Gonzaga pleasure palace at Te, the walls and ceilings of which bloomed with mural paintings that were forerunners of the mannerist style...
...early '80s. The American confusion between size and scale remains. There may be a lesson in the fact that Richard Tuttle's three tiny, delectable pieces made of painted cardboard, scraps of wood and bits of twisted wire "carry" every bit as sharply as Judy Pfaff's enormous mural, which looks like a vastly inflated Frank Stella made of patio furniture. But at least the stage props of Deep Authenticity are less wearisomely apparent in this show than they used to be. The sound of breaking plates is distant, like the hunter's horn in Giselle: though Julian Schnabel...