Sentences with phrase «as art critic of»

In 1962, as art critic of the New York Post, I published an interview with Ad to present his ideas to a general public.

But from 1967 onward, as art critic of The New Yorker, he reached a vastly larger public.

Not exact matches

The study of patterning is as problematical for a thoughtful critic of education as it is in art.

If the question were expanded to include novelists — the most sociological of major art forms — a well - informed literary critic might offer a few names such as Ron Hansen or Alice McDermott, authors whose subject matter is often overtly Catholic.

As it stands, most critics rely on the popularity of the work of art for the popularity of their review.

My concern is to draw a connection between the broader situation Gioia describes and the dealer's observation, which cuts to the heart of who I am, as a Christian, and the work I do as an art critic, curator, and art historian.

I was bothered by theological critics of literature who, following Tillich's too - easy baptizing of the secular order (epitomized in his phrase «as the substance of culture is religion, so the form of religion is culture»), tended to overlook the differences between Christianity and the insights of art.

As Kramer progressed through the 1950s and 1960s, he confronted an increasingly painful dichotomy: on the one hand, his brilliance as an art critic propelled him toward the center of the cultural establishment (he eventually became chief art critic of the New York Times); on the other hand, his political and moral concerns estranged him from the growing radicalism of the intellectual class that controlled the establishmenAs Kramer progressed through the 1950s and 1960s, he confronted an increasingly painful dichotomy: on the one hand, his brilliance as an art critic propelled him toward the center of the cultural establishment (he eventually became chief art critic of the New York Times); on the other hand, his political and moral concerns estranged him from the growing radicalism of the intellectual class that controlled the establishmenas an art critic propelled him toward the center of the cultural establishment (he eventually became chief art critic of the New York Times); on the other hand, his political and moral concerns estranged him from the growing radicalism of the intellectual class that controlled the establishment.

Expressionism is an art which seeks, as critic Wieland Schonied puts it, «to fuse feeling and the object of feeling.»

In this respect, his approach is very different from that of another distinguished literary critic, Robert Alter, author of The Art of Biblical Narrative, who deprecates what he calls the excavative techniques of professional biblical scholarship and works with the text as it is, in its final form.

Scholars and critics have not yet taken the full measure of contemplation as an art that is related to the purpose of all scholarly activity — to see things as they really are.

I have long remembered the remark of a notable art critic — though I have forgotten which one — that many modernist paintings could be understood as fragments of classical painting blown up for their own sake, displaying the formal and technical elements by which painting is accomplished but eschewing the narrative depiction within which such patches of paint on canvas would earlier have had their place.

As the late art critic Robert Hughes once pointed out, «The new job of art is to sit on the wall and get more expensive.»

Governor Rauf Aregbesola of Osun State has described his critics on the alleged huge debt profile of the state as individuals with no clear - cut understanding of the art of governance.

It houses works of art from some of the UK's most famous artists such as George Romney and even holds some of the art critic John Ruskin's finest sketches and water colours

From one angle, «First Reformed» is an unreformed film critic's tour through a strain or tradition of art - filmmaking that molded him, as well as a tribute to masters including Ingmar Bergman, Andrei Tarkovsky, Carl Dreyer and, of course, Bresson.

«Memoirs of a Geisha,» however, found the director cramped by conflicting aspirations of art - film stateliness and the old - Hollywood pizzazz of his previous effort — if not the catastrophe that many critics enjoyed declaring it, it was nonetheless a misfire that awkwardly showed up his limitations as a storyteller.

Although the film didn't connect as strongly with mass audiences (although it's considered a «sleeper hit,» you have to wonder what it could have done if it had been released after Whedon's little art house film «The Avengers «-RRB- and more than a few critics found it befuddling and arch (it's neither), «The Cabin in the Woods» is the kind of movie that will ultimately live on as a deserved cult classic, perfect for drunken film studies students and bored kids at slumber parties alike.

As spectacularly wrong as organizations like the Academy, and the odd critics» groups, can get it sometimes, nobody can rival the collective movie - going public for sheer cluelessness when it comes to determining the best of the art forAs spectacularly wrong as organizations like the Academy, and the odd critics» groups, can get it sometimes, nobody can rival the collective movie - going public for sheer cluelessness when it comes to determining the best of the art foras organizations like the Academy, and the odd critics» groups, can get it sometimes, nobody can rival the collective movie - going public for sheer cluelessness when it comes to determining the best of the art form.

Critics, most of whom I'll assume have greater interest in, a better understanding of, and a firmer position on Israel - Palestine than me, gave it low marks, with nineteen «top» and sixty overall reviewers both yielding a measly 16 % on Rotten Tomatoes» oft - cited Tomatometer, a score largely unheard of for independent art house fare such as this French - Israeli - Italian - Indian co-production.

Whereas Bazin never mentions Caravaggio in his essay on «The Ontology of the Photographic Image» (1945), the French critic refers to the baroque style as a proto - cinematic and pictorial term of reference: «The film delivers baroque art from its convulsive catalepsy.»

Two wonderful cameos by Jason Schwartzman as the owner of a high end North Beach gallery and Terence Stamp as New York Times art critic John Canaday reveal the gatekeepers to be exactly who they were — and primarily still are — self - important men who delight in throwing their weight around.

Stylistically, First Reformed is shot and edited like an art movie, its look and tone aligned with the chilly minimalism of the «slow cinema» Schrader has theorized and canonized in his work as a critic.

The Seattle Film Critics Society (hereafter, «SFCS») is an association of professional reviewers working in concert to facilitate a community that supports local productions and festivals, that enhances public education, awareness, and appreciation of cinema, and strengthens the bonds of critical dialogue as it pertains to the cinematic arts.

Even critics of last year's Amores Perros have admitted that an insurgence of Mexican productions into the highly populated art house distribution crowd is increasingly inevitable (the best simile that could be imagined is that the rise of Mexican cinema is like the push for Germany and Japan's permanent inclusion on the UN Security Counsil — hey, as art film distributors are saying, we're still working with the inclusion of Iran and Taiwan).

Its attackers have mainly been the I - was - in - Nam - so - I - know school who, not being film critics, have ignored any considerations as piffling as those of art.

The great New Yorker film critic Pauline Kael said the film «altered the face of an art form» and described it as the most «powerfully erotic movie ever made».

Effective side roles include those of Terence Stamp as the art critic, Danny Huston as the reporter, Jon Polito as the night club owner, Jason Schwartzman as the owner of an art gallery, James Saito as the judge in Honolulu's federal court, Madeleine Arthur as Margaret's teen daughter, and Krysten Ritter as Margaret's best friend DeAnn.

One of the best things we can do as critics working in the Trump era is to remind people that we don't always experience history through the art of the moment.

Well, as for me, the movie is really interesting and pleasurable to watch and that these critics are just over-analyzing this movie that seems to be an impressive piece of art.

In June 2017, Rich is being honored with a week of events at the Barbican Center for the Arts and Birkbeck, University of London, entitled «Being Ruby Rich» saluting her work as critic, curator, and advocate.

Ciarán Hinds plays a widowed art critic who returns to the scene of a sun - kissed but ultimately painful summer of his childhood — a lost world inhabited by louche bohemian adults (Natascha McElhone, Rufus Sewell, both ripe as all hell) who seem to be trapped for eternity in a Jack Vettriano painting.

Petit also looks at Farber as a painter and an art critic and Hickey as an art critic, a resident of Las Vegas, an appreciator of Farber, and a commentator on American culture.

Set in 1964 Paris and based on the recollections of American expatriate art critic James Lord, Final Portrait depicts Giacometti as a rumpled curmudgeon.

Not bad for a movie characterized by Variety critic Peter Debruge, after its Telluride Film Festival premiere, as «the sort of joyless art film one might expect Polish nuns living under the clutches of 1960s communism to appreciate.»

The Seattle Film Critics Society is dedicated to supporting local productions and festivals, enhancing public education, awareness, and appreciation of cinema, and strengthening the bonds of critical dialogue as it pertains to the cinematic arts.

Critics have been raving about this tender romance from Italian director Luca Guadagnino (I Am Love, A Bigger Splash) since it premiered at Sundance back in January, and it's so highly anticipated that some theaters have been selling tickets weeks in advance, as though the film were the art - house equivalent of The Last Jedi or something.

All About Eve (1950, Joseph L. Mankiewicz): «Fasten your seat belts, it's going to be a bumpy night,» says diva supreme Bette Davis in this immortal take on the freaks of the theater, including Anne Baxter as Davis» cutthroat protégée, George Sanders as an acerbic critic and the young Marilyn Monroe as a budding talent who trained, claims the critic, «at the Copacabana School of Dramatic Arts.»

Early word from critics is that this is just as hilarious and ridiculous as the first two films, and might be a good bit of entertainment to catch at your local art house later this summer.

It may not have sounded like much on the surface (another reason why it probably didn't do very well with audiences or most critics) but legendary director Hill (the man behind such classics as «The Warriors,» «48 HRS» and «Streets of Fire») brought both his impeccable technical gifts and a genuine sense of personal style to the proceedings that elevated the material to something that came far closer to what one might refer to as «art» than one might rightly expect from a genre picture these days.

The Canadian actress has won fervent critical acclaim for her chameleonic performance as a group of wildly different clones, as well as smaller prizes such as the Critics» Choice Television Award, but has yet to earn recognition from the famously habit - prone voters of the Academy of Television Arts & Sciences.

As the #MeToo movement calls attention to sexual assault, harassment and misogyny, critics and consumers have struggled with how to treat the art of men accused of sexual harassment and assault.

Beifuss, who has been Memphis's preeminent film journalist and critic for many years was cited for the dedicated coverage of the film festival as well as independent film locally, giving the art of filmmaking an unwavering presence in the press due to his efforts.

This scene speaks to the fortunate ability of art to bypass the inane sorts of censorship imposed by stodgy institutions like the MPAA (which gave this one an NC - 17, enraging such critics as Roger Ebert).

2 X 50 Years ends with a moving tribute to French film criticism — using that term broadly enough to include precursors as well as poets, art critics, and filmmaker - theorists — by furnishing us with a honor roll of 15 individuals, from Denis Diderot to Serge Daney, each of whom is accorded a portrait, a page of text, and an offscreen recitation of a brief passage read by Mieville or Godard.

But I do feel that to dismiss The Skelton Key — or Munich or Syriana or any movie that might be grouped under the heading of «mainstream popular entertainment» — simply because it isn't as complex in its arguments or as subtle in its art - making as some other movie that probably won't even reach cinemas in most cities across the country is to risk compromising one's own relevancy as a critic.

Though it received a fairly solid 68 percent on — please stop reading here if you're Martin Scorsese — Rotten Tomatoes, it was deeply polarizing, throttled by some critics as «the worst film of the century,» and hailed by others as a wholly unique, engaging piece of art.

As many of the best critics have stressed, film criticism's function is to resist becoming part of the machine for promoting films at either the mass market or indie / art film level, repeating the press notes and feeding the hype.

In 2002, a group of Seattle film professionals, enthusiasts, teachers, and critics formed Parallax View, a small film society whose goal was to champion the cause of film literacy, foster public discussion of the place of movies in society, and promote the serious, sometimes delirious cause of film as art.

was billed as a discussion in which panelists would answer the critics of whole language, a meaning - centered philosophy and method of teaching language arts.