Not exact matches
His own father, he points out, was one
such case after he suffered a severe stroke in his
early fifties — Astrue's age now.
The problem with the «
Fifty Shades» franchise — if it can be called a franchise — is not so much its portrait of a controlling man manipulating his lover past her comfort zone, although
earlier installments feature
such scenes.
Their heroes,
such as they are, end up locked in an ideological opposition that somehow echoes a deeper, more pervasive tension in American life: the parasitic rivalry between Daniel Day - Lewis's monomaniacal capitalist and Paul Dano's maliciously self - denying man of the cloth in the 19th - century California landscape of There Will Be Blood (07); the uneasy mentorship that Philip Seymour Hoffman's charismatic cult leader develops with Joaquin Phoenix's broken - down vet as they move through the strange, suspended vision of
Fifties America in The Master (12); and now, in Anderson's newest film Inherent Vice, the antagonistic buddy romance that emerges between a pothead PI and a shell - shocked, crew - cut detective as each navigates the splintered world of Los Angeles in the
early, paranoid Seventies.
A teacher can earn
such multiples of her salary in pension wealth accrual during a peak year in her
early or mid-
fifties, and then start losing pension wealth if she continues to work for the rest of her
fifties.
And it's worth remembering my
earlier warning — there's a pervasive financial media focus on a select bunch of marquee US names, so be extra careful of any exclusive bias towards
such stocks (and yes, I feel this bias myself, every single day) at the expense of a more global Nifty
Fifty.
They are the kind of paintings that made an impression on important New York curators,
such as James Johnson Sweeny, and gallerists, including Betty Parsons, Sidney Janis, and Samuel Kootz in the late forties and
early fifties.
Robert Irwin, who began his career in L.A. in the late
fifties as a robust abstract expressionist, modeling vast canvases, today confines himself to spare gestures - subtle manipulations of line, scrim, light - specifically suited to the particulars of the site and context of each new project (the University Art Museum itself will play host to
such an installation
early next year).
By the late forties and
early fifties, de Kooning and his New York contemporaries, including Jackson Pollock, Franz Kline, Robert Motherwell, Adolph Gottlieb, Ad Reinhardt, Barnett Newman and Mark Rothko, became notorious for rejecting the accepted stylistic norms
such as Regionalism, Surrealism and Cubism by dissolving the relationship between foreground and background and using paint to create emotive, abstract gestures.