Word: porter
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Dates: during 1980-1989
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...Julia's neighbors, the more sympathetic Black counterparts of Herman's mother and sister, Connie Sullivan, Valerie Graves and Kevin Porter poignantly capture the desperation of a people struggling to retain their self-esteem in the face of daily abasement. Unfortunately, Wanda Whitmore, as landlady Fanny Johnson, mugs, contorts, and overacts her way through a performance that recalls the conniving but ignorant Black stereotypes in Hollywood's old plantation films...
...touching belief in the social potency of the seemingly formidable mechanisms of power. Power, like all things human, is fragile. One glimpse of the ruins of all the great European civilizations ought to have taught Shaw that. Revivals, too, may prove fragile. This one shows tensile strength. Director Stephen Porter always holds up a steady mirror to a playwright's inner vision, never more precisely than in Major Barbara. His cast is superb-Bosco's polished diabolism as Undershaft, Kennedy's valiantly wounded purity as Barbara, Jon De Vries' scruffily belligerent ruffianism...
...CONTRAST to such special effects, several artists create a physical obstacle course for subway patrons. David Phillips collects granite boulders and deposits them at random on the plaza at Porter Square. (Harvard's own) Dmitri Hadzi amasses sculptures composed of objects--mostly fragments of building materials--found in the Cambridge area...
Mags Harries casts bronze gloves arranged in a "narrative sequence" throughout Porter Square station. James Tyler's work is the ultimate object-installation: he sculpts life-sized human figures to be arraned in the park at Davis Square. I worry about these last two schemes. Dismembered hands and frozen bodies could have strange psychological affects on the less sober among...
...isolated from each other. It's a little hard to tell from models how things will look, but it's clear enough that each artist received a section to fill individually. Harvard ends up with stained glass, Hadzi's found objects, and (at Brattle) a twenty-foot brick pylon. Porter Square gets the gloves, the boulders, a mobile, and a huge granite ripple. Art remains object, isolated appendages tacked onto architecture...