Word: visualizing
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Dates: during 1980-1989
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...rival Sellars in knowledge of the visual, musical and theatrical arts. With this knowledge, he combines thematic insights and a knack for manipulating the stage. His dedication and achievements rank him an artist of the greatest integrity. But when people neither understand nor enjoy his production, what is the point? Art? Must art be tortuous to fathom? To disdain those who walk out of a production, to direct a work grasped only by its creator is too easy and risks too little...
Striking though the individual elements are, they do not always mesh. Although Childs says her dance is closely allied with Adams' music, too often the two clash: the sounds urgent, the movements passive. Further, visual minimalism palls more quickly than its aural counterpart, and beside Adams' expanded vocabulary, Childs' monochromaticism looks dated. By definition, being a member of the avant-garde means always being in motion, like running up a down escalator: if you are not actively moving forward, you are surely moving backward. -By Michael Walsh
...took less than 60 seconds. Then the brilliant morning sunlight was slashed by a more brilliant white flash. It was so strong that the crew of the Superfortress Enola Gay felt a "visual shock," although all wore sun glasses...
...moviegoers who are not shocked, titillated, disgusted, fascinated, delighted or angered by this early scene in Bernardo Bertolucci's new movie, Last Tango in Paris, should be patient. There is more to come. Much more. Bertolucci has marshaled his opulent visual style to tell a stark story of sex as a be-all and end-all. For boldness and brutality, the intimate scenes are unprecedented in feature films. Frontal nudity, four-letter words, masturbation, even sodomy-Bertolucci dwells uncompromisingly on them...
...shadows, solid lapping into transparency, things penetrating and turning away, leaving behind the merest signs for themselves-a letter or two, the bowl of a pipe, the sound hole of a guitar. This sense of multiple relationships was the core of cubism's modernity. It declared that all visual experience could be set forth as a shifting field that included the onlooker. It was painting's unconscious answer to the theory of relativity...