Word: triptyches
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Dates: during 2000-2009
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...renowned Avignon Pietà, a large, luminous painting of the dead Christ awkwardly laid across his mother's knees, with John the Baptist, in an unusual gesture, removing his crown of thorns. In the terrific little show's biggest coup, the separate and fragile panels of the Aix Annunciation triptych are brought together - from Aix-en-Provence, Brussels, Amsterdam and Rotterdam - for the first time since 1932. (Two of the cities had but half a panel each.) Attributed to Barthélemy d'Eyck, the magnificent altarpiece, depicting an angel appearing to the Virgin Mary, conceals the devils...
...their Western counterparts. Among the show's best offerings are short films and clips from full-length productions by filmmakers like Chen Kaige, Zhang Yimou and Jia Zhangke. But like most contemporary shows, video is the dominant medium here. Among other endless loops, visitors can watch Zhang Peili's triptych featuring tight close-ups of a man cutting food on a plate and audibly chewing it. In Cui Xiuwen's three-hour Metro No. 2, a woman on a Beijing subway peels bits of skin off her lips as other passengers come and go. For more excitement, there's Yang...
Desserts ($7), fortunately, are an unequivocal triumph. A frozen hillock of an espresso soufflé nestles squarely on a hazelnut dacquoise (meringue) base in a beautiful pairing of satiny sludge and airy crunch. Next we try a triptych of variations on an apple: “moist” honeyed apple cake (which it is eminently not—more like chewing a stiffened wholemeal loofah), spiced cider sorbet of unusually whirly consistency, and a baked whole apple with a scalding molten core of gravelly brown sugar-magma...
Damsels In Distress is an uneven but enjoyable triptych, which easily accords with its author's "Obvious Rule No. 101: No one ever set out to do a show with the intention of giving you a bad time...
Louise Bourgeois’s triptych, “Obese Bulimic Anorexic” (2001), deals with similar issues of control, self-loathing and aggression in a slightly more obvious way. Composed of stuffed, flesh colored stockings, her figures resemble homemade dolls, maybe even a variant of the voodoo doll or a reference to the fertility goddess, the Venus of Willendorf. The three figures play out an ambiguous progression of weight gain, emotional trauma and aging. Their armless bodies are scarred with seams betraying surgery, deformity or self-mutilation...