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...antique compared with the grouchiness of those two audio superstars. But even in the '50s and '60s, parading his encyclopedic memory for shtick, he was a throwback to every baggypants tummeler, every silent-movie clown. And like those masters, he knew that a pie in the face was the visual equivalent of a rim shot. Set up the joke, do the punch line, get a goopy Soupy face. He explained this precise, predictable rhythm in a 2002 interview with Ed Grant on the Manhattan cable-access show Media Funhouse: "Guy says, 'Where's the watercooler?' I say, 'Alaska...

Author: /time Magazine | Title: Farewell to the Pieman: Soupy Sales, 1926-2009 | 10/23/2009 | See Source »

...late Irving Kristol—intellectual godfather of modern neoconservatism and a pretty sharp cookie—didn’t think so. It’s why, after living in New York all his life, he decided in 1988 to jump ship. While the worlds of visual media, publishing, and finance were still thriving, he said, the “literary” intellectualism of the Trilling-Sontag variety (definition: “a dinner party can become acrimonious over such issues as Freudian analysis”) was extinct, or at least highly endangered. Kristol personally decided to head...

Author: By Jessica A. Sequeira, CRIMSON STAFF WRITER | Title: Bright Lights, Big Pity | 10/20/2009 | See Source »

...Visually, “The Flies” plays it safe under the direction of M. Amelia Muller ’11. No sets and props are impressive or revolutionary, but their symmetry, harmonious colors, and moderate lighting render them all pleasant. The shadow silhouettes on the background wall are effectively executed; the visual factors of the play remain fairly quiet as well, never detracting from the action on stage, save for one moment. In an unfortunate set decision, the barricade blocking the entrance of the cave to hell goes flying, awkwardly disrupting the rhythm of the show. But unlike...

Author: By Shijung Kim, CONTRIBUTING WRITER | Title: ‘Flies’ Attempts to Interpret Sartre | 10/19/2009 | See Source »

Still whether or not “ACT UP New York” will impress the pertinence of the AIDS crisis upon the Harvard population, it serves as an important demonstration of the poignancy of the visual arts...

Author: By Susie Y. Kim, CRIMSON STAFF WRITER | Title: Re-Act | 10/16/2009 | See Source »

Citing a principle objective of the exhibition Grace says, “One of them is simply the understanding of the fact that collective organizing and its intersection with visual art can have a real effect on our culture, which is something that I think our generation, yours and mine, is not that in touch with, for whatever reason...

Author: By Susie Y. Kim, CRIMSON STAFF WRITER | Title: Re-Act | 10/16/2009 | See Source »

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