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...Neapolitan art critic named Achille Bonito Oliva. Bonito Oliva is a mini-celebrity in Italy, an imbonitore, or bustling promoter, of groups and movements, who gave the '80s its silliest piece of art jargon, "la transavanguardia," the "trans-avant-garde." He wanted to create a Biennale that would transcend national differences and illustrate "cultural nomadism." To put it charitably, his talents are not up to the task...

Author: /time Magazine | Title: A Shambles In Venice | 6/28/1993 | See Source »

...consequences of love unpursued. Gurney is often pegged as an elegist for the waning Wasp. In Later Life he makes great efforts to usher in characters outside that stereotype. They are Irish, Jewish, Texan and techno-nerd; one woman is a lesbian, one man gay, and these two fully transcend sketch comedy to offer poignant glimpses of self-destructive lives. Predictably, however, the central figure is a Wasp, and an uptight one at that...

Author: /time Magazine | Title: Paralyzed by Caution | 6/14/1993 | See Source »

This experience taught Hagerty that "enemies can coexist and can transcend cultural and religious differences if they have a common ground...

Author: By Gaston DE Los reyes, | Title: 25 Years Later, Turbulent Times Have Left a Mark | 6/7/1993 | See Source »

...simply for the sake of the children (and there were many in this audience), the Boston Ballet could never leave out these essentials of so universal a fairy tale. Yet, twists of character and additional elements of style transcend the basic story-line, bringing an element of theater to dance. In a spirit that combines a touch of Shakespearean drama with Hasty Pudding theatricals, the ever predictable evil stepsisters are not so predictable. In the first scene of Act I, the stepsisters enter the stage dauntingly tall, grotesquely covered in makeup, and shockingly clumsy, heavy and graceless. If this contrast...

Author: By Amanda S. Federman, | Title: Swept Away by the Boston Ballet | 4/22/1993 | See Source »

...willingness and ability to transcend his image helps answer some of the questions about the trajectory of his career, among them: How come he isn't Doug McClure, one of those TV-series hunks of the '60s who faded into anonymity? Or merely a Sylvester Stallone, one of those action heroes who have achieved nothing like the longevity Eastwood has? Neither could have, or would have, made a movie like Unforgiven. With the intelligent shyness that empowers many great actors, Eastwood embraced the entire craft of filmmaking, wandering the sets and picking up insights even as he was churning...

Author: /time Magazine | Title: Go Ahead, Make My Career: CLINT EASTWOOD | 4/5/1993 | See Source »

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