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...makes bad art, I’m not sure that it’s all bad, or frankly, all that different from what you might see at a regular art museum. Compare “Out of Joint,” an expressionistic portrait of a seated mustachioed man set against a mustard and teal colored background, to an Egon Schiele self-portrait, for example, and you might have a hard time guessing which one lives at the MOBA and the other at the Met. Leafing through the comment book, I saw that many visitors, like me, couldn?...
Davis took the opportunity to speak about a significant new addition to the MFA emerging from its recent renovation: a new American Wing, which is set to open in late 2010. This new effort will showcase works from North, Central, and South America in a chronological manner to evoke a sense of exploration and engagement in its visitors. “However you explore this wing, we do hope you will find something of great interest to you,” Davis said...
...Atonement” and “Saturday,” McEwan employs a series of seemingly random accidents to set his characters on paths that they would not have otherwise contemplated. The main accident in “Solar” is a sudden and unforeseen death that enables Beard to recast himself as a friend of the environment. But “Solar” complicates the theme of accidental change that McEwan returns to so often by incorporating a new idea of willful self-deception. Though Beard believes that “barring accidents, life does...
...addition to the documentary, “No Distance Left to Run” includes a superb live recording of the first of Blur’s two Hyde Park gigs. The band are in absolutely phenomenal form, moving through a diverse greatest hits set that includes their most famous songs while featuring astonishing performances of lesser known tracks like “Oily Water” and “Trimm Trabb.” The concert is the perfect accompaniment for the documentary, proving once again how remarkable and joyous the reunion was. At the beginning...
...from the ceiling of the Loeb Experimental Theater, sewn plastic figures glisten against thick sheets of cloth. As the audience enters, the wonderful and mysterious sculpture—designed by Sara J. Stern ’12—sways and sighs. It looms over the neat and trim set and veils it with a hesitating shade...