Sentences with phrase «as dance critic»

That said, as a dance critic she was our Merce Cunningham.

Her work as a freelance developmental editor at Writing-Partner.com [5] follows a nineteen - year career as a dance critic.

Not exact matches

On the other hand, critics of play such as Northrop Frye have recognized that «the quality that Italian critics called Sprezzatura and that Hoby's translation of Castiglione calls «recklessness,» the sense of buoyancy or release [is] that [which] accompanies perfect discipline, when we can no longer know the dancer from the dance» (Anatomy of Criticism [Princeton: Princeton University Press, 1957], pp. 93 - 94).

Critics of the Conservatives said the real threat to territorial integrity was campaign posters like the one of Labour leader Ed Miliband dancing like a puppet as the SNP's Alex Salmond played the flute.

Born out of the Great Depression, swing dancing elevates the human spirit beyond one's circumstances as dancers can move to the beat for the sheer joy of it and disappear into something bigger, something dazzling, a space without a critic or a judge or an analyst.

The Oscars, as it turned out, the critics, as it turned out were not in the business of dumbing down to the Dancing with the Stars generation; they were in the business of finding what they thought was the best and hoping, soon enough, others would discover it.

Casting Willem Dafoe as the moral center and largely only established star in the film (he's collected a slew of award - season recognition alone including from the Golden Globes, SAG and Critics» Choice), Baker went for fresh faces in order to give a grounded, sincere sense of drama, specifically Bria Vinaite and Prince, who play a mother and young daughter, respectively, dancing at the end of a string to make ends meet.

She provides a colorful commentary and anecdotes about her life and her collection, which ranges from puppets found in the trash in Palermo to works and correspondence by her many friends, including painters, sculptors, poets, photographers and filmmakers, dance and art critics, musicians and composers, such as Fairfield Porter, Giorgio Morandi, Peter Rockwell, Meret Oppenheim, Edwin Denby, Rudy Burckhardt, Francesca Woodman, Elliott Carter, Alvin Curran, and many others.

In 1954, Robertson saw the great Diaghilev exhibition in London mounted as a totality, an environment, by the dance critic Richard Buckle.

Writing in the New York Times, the dance critic Siobhan Burke described the performance piece as a «sublime reimagining — with [Solange's] own choreography and reconstructed musical arrangements — of A Seat at the Table.»

Eva Wittocx (Curator of Museum M, Leuven and frequent contributor to art publications such as Flash Art) Martin Germann (Senior curator at S.M.A.K, Stedelijk Museum voor Actuele Kunst, Ghent, and regular contributor to exhibition catalogues and magazines) Nav Haq (Belgian - based exhibitions curator at Museum of Contemporary Art, M HKA, Antwerp; curatorial advisor for the Guggenheim Abu Dhabi and Iberia Art Center in Beijing; contributor to Art Review, Bidoun, Frieze, and Yishu: Journal of Contemporary Chinese Art; winner of ICI's 2012 Independent Vision Curatorial Award) Piet Coessens (Director of Raveelmuseum in Machelen - aan - de-Leie) Sophie Lauwers (Deputy Director of Exhibitions at BOZAR, writer) Joel Benzakin (Independent curator who worked on the Belgian Pavilion at the 52nd Venice Biennale, with BOZAR and renowned galleries) Luk Lambrecht (Director and curator of visual arts and dance at Strombeek Cultural Center and art critic for Knack Weekend, De Morgen, Knack, and Flash Art)

Critics say that this has narrowed access to art or dance or music or drama as schools concentrate on core subjects.

NOTE: Some art critics believe that Performance art is best understood as a «performing art», like drama, dance or stand - up comedy, rather than a form of «visual art» - especially since the «artwork» in question is typically accorded a low priority by the performance artists themselves.

A generous hint of his direction could be seen in the 2012 Biennial (then hailed by New York Times critic Roberta Smith as «one of the best Whitney Biennials in recent memory»), which included such unforgettable moments as Werner Herzog's presentation of drawings by Hercules Segers intermixed with filmed performances by the Dutch avant - garde cellist and composer Ernst Reijseger; Dawn Kasper's performative residency in a ramshackle studio of her own creation on the museum's third floor; and the transformation of the entire fourth floor into a long stage for dance, most memorably Michelson's highly concentrated, multipart «Devotion Study # 1 — The American Dancer.»

Much as you would like for your critics to dance to your samba, I have more fruitful uses for my time.