Sentences with phrase «klansmen from»

We would be right to remove a klansman from our midst.

Not exact matches

The majority opinion was written by Justice Hugo Black, former Klansman and Senator from Alabama.

Also being predicted in the Best Picture lineup are «Backseat» from Adam McKay, «Black Klansman» from Spike Lee, «Black Panther» from Ryan Coogler, «Bohemian Rhapsody» from Dexter Fletcher and Bryan Singer, «Boy Erased» from Joel Edgerton, «First Man» from Damien Chazelle, «If Beale Street Could Talk» from Barry Jenkins, «Mary Queen of Scots» from Josie Rourke, and «A Star is Born» from Bradley Cooper.

The big Audience Award winners are: Burden, a story about a former Klansman being taken in by a Reverend starring Garrett Hedlund & Forest Whitaker, from director Andrew Heckler; The Sentence, a documentary by Rudy Valdez; and Search, the computer screen film (read my review) directed by Aneesh Chaganty.

I love Guston's abstract paintings but also his transition from abstraction to the Klansman series [his hooded figures caricaturing the Ku Klux Klan in the»70s].

Certain key motifs appear over and over: skinny legs that seem to have been de-boned, piles of old shoes, cartoonish and clunky, clocks with one hand, low hanging light bulbs and, again and again, these hooded figures that may be Klansmen or something more personally emblematic: the masks that artists, like all of us, hide behind; the disguises we don to face or shy away from the world; the evil, banal and faceless, that lurks within us all.

In another set of interactions, works by the perennially influential Philip Guston appear across three generational shifts: a Social Realist drawing of Klansmen, dated 1930, hangs amid politically progressive paintings by Jacob Lawrence (the great War Series from 1946 - 47), prints by Louis Lozowick, Hugo Gellert and Mabel Dwight, and photographs by Dorothea Lange, Margaret Bourke - White and Walker Evans; his modestly scaled abstraction, «Dial» (1956), is installed between Mark Rothko's imposing «Four Darks in Red» (1958) and Louise Bourgeois» classically phallic «Quarantania» (1941) in the galleries devoted to Abstract Expressionism; and a large, brooding, late figurative canvas of heads, shoes and eyeballs, «Cabal» (1977), turns up beside paintings by artists twenty - five to thirty years his junior, along with one from Cy Twombly, who was two years older than Guston, born in 1911, and one by Alma Thomas, who lived from 1891 to 1978.

From then until his death, in 1980, at 66, * Guston left abstraction behind and made some of the most memorable and influential paintings of the late 20th century, big and small: huge, gloppy, opaque - colored images of Ku Klux Klansmen driving around in convertibles, smoking cigars; cyclopes heads, in bed, staring at bare lightbulbs; piles of legs and shoes; figures hiding under blankets, clutching paintbrushes in bed.

Black - and - white paintings like «America the Beautiful» from around 1960, and the 1961 «Klu Klux» mock the boobyish activities of Klansmen.

From Ku Klux Klansmen to a supporter of Barack Obama.