Sentences with phrase «fugue does»

Not exact matches

Thus, when I spied a Tagalongs - style peanut butter pie on Tasting Table this week and realized that it was easy enough that I could pull it off in my current sleep - deprived fugue while also filing the vast peanut butter pie - shaped hole in the archives, it was a done deal.

Not only does he have absolute pitch, he is able to get the structure of a fugue.

As the performers moved about the space in a random pattern of loose choreography, they sang the lines: «Who say you have to be a dead dog... One is the loneliest number that you'll ever do... And it comes down, it comes down, well it comes down, and it comes down, it comes it comes... Scores of blood and fire and freeways, I am going to get my share... One is the loneliest number that you'll ever do... Who say you have to be a dead dog...» Handling each other's bodies with as much regard as the set's props, the performers alternate between a cappella and in - the - round chorus, fugue and eventually total discordance, rising as high as Math Bass as she climbs to the top of the ladder supported by her full cast in order to smash the plant and end the performance.

That work creates a fugue from three narratives chronicling the effects of the global economic crash: one about a successful photographer in Iceland who loses everything in the downturn, one about a hedge - fund art collector in London who doesn't have much to worry about, and one about a housekeeper in Dubai who is trapped in an immaculate apartment in the middle of the desert.

The abstract expressionists were fond of titles that didn't help viewers out much — the recent «Abstract Expressionist New York» exhibition at the Museum of Modern Art included Ad Reinhardt's 1963 «Abstract Painting,» for instance, or Richard Pousette - Dart's 1943 «Fugue Number 2» or Barnett Newman's 1946 «Untitled» or Mark Rothko's 1945 - 6 «Untitled» or Clyfford Still's 1944 «1944 - N No. 2.»

Kandinsky entitled a 1912 painting Fugue (Controlled Improvisation), and by the 1920s lots of artists were doing it, Paul Klee and Josef Albers, amongst them.

Post-Superstorm Sandy, we've entered a kind of fugue state when it comes to natural disaster, forgetting that there has been a long history of extreme weather events that sometimes have nothing to do with how much carbon is in our atmosphere.