Sentences with phrase «landscape as a critic»

It's always difficult to traverse the cinema landscape as a critic while keeping your expectations in check.

Not exact matches

What critics said: «In a summer movie landscape with Spider - Man, a simian army waging further battle for the planet and Charlize Theron as a sexy Cold War - era superspy, it says something that one of the most compelling characters is Al Gore.»

Though a satirist always risks blowback, both from those who don't get the joke and from some who do, when it comes to social criticism, I tend to follow what we might call the Joe Bob Briggs Doctrine: think of the social critic as a machine gun spraying fire across the cultural landscape, and «when a target screams, you've found the sacred cow.

In one of his last acts before leaving office, former DEC commissioner Joe Martens signed off on what had long been pilloried by critics as a «mega-resort,» with two 18 - hole golf courses, hundreds of hotel rooms and condos scattered over 1,700 acres of pristine mountaintop landscape.

Named after the only book by film critic, painter, and teacher Manny Farber — a 1971 collection reprinted in an expanded edition in 1998 — Petit's video wrestles with American landscape and culture, irony, memory, Las Vegas, the beginning of a new millennium, death, desert, film versus video, J.M.W. Turner's painting, several movies (including Howard Hawks's The Big Sleep, Jacques Tourneur's Out of the Past, and Roberto Rossellini's Voyage to Italy), as well as two critics, Farber and Dave Hickey.

Chimamanda Ngozi Adichie burst onto the literary scene with her remarkable debut novel, Purple Hibiscus, which critics hailed as «one of the best novels to come out of Africa in years» (Baltimore Sun), with «prose as lush as the Nigerian landscape that it powerfully evokes» (The Boston Globe); The Washington Post called her «the twenty - first - century daughter of Chinua Achebe.»

The game engine was developed by Oortmerssen as a landscape - style game engine and has received praise from critics and fellow developers for its implementation and technology.

From the lyric, dark grisaille of Gorky's inner landscapes it grew to epic stature: In 1952 art critic Harold Rosenberg observed that «at a certain moment the canvas began to appear to one American painter after another as an arena in which to act, rather than as a space in which to... «express» an object, actual or imagined.

«It's this place of the imagination as much as a real place,» says art critic Adrian Searle, discussing the landscape of mist and snow in Peter Doig's Cobourg 3 + 1 More, a highlight of Christie's Post-War and Contemporary Art Evening Auction on 7 March (view all lots below).

Although it has been argued that these lines resemble some of the geographical features that Diebenkorn observed in the suburban landscape, by the time he painted his Ocean Park paintings he felt he had resolutely abandoned figuration in favor of something much more spiritual and contemplative, as one influential critic noted, «[With the Ocean Parks]... one leaves behind labels like «Abstract Expressionism» and «Bay Area Figuration» and enters a breathtaking new world that is unique to Diebenkorn as Mondrian's or Still's or Rothko's are to their creators....

He is best known for his paintings and drawings of the desert, and is recognized by art critic Donald Kuspit as «one of the most significant contemporary landscape artists.»

When one of her works was included in a group show at Betty Parsons in March 1952, the New York Times critic Howard Devree compared it with Nell Blaine's «intricate upbuilding» in a scene suggestive of mountains, stating: «Perle Fine's canvas has reached the utmost in economy in two areas of bluish - green bordering a sweep of white as if the shadow of a cloud had all but obscured a landscape.»

Writing about D'Hollander's paintings in The New York Times in 2016, the critic Roberta Smith commented that «They share some common ground with Belgian painters like Raoul de Keyser and Luc Tuymans, but their softened geometries are more open, accommodating suggestions of landscape, seashore and weather as well as abstraction.»

His practice as a critic reflects the diversity of the curatorial interests of the early 1960s in New York, with reviews as wide - ranging as those on the work of Tao Chi, a Chinese landscape painter, calligrapher, and poet from the Ming Dynasty, to a review on the Inca of Peru.

Butler writes that both shows» [suggest] that a renewed interest in traditional genres — portrait, still life, landscape — is thriving within the painting community... That galleries are positioning a new kind of painting to replace what they (and many critics) see as a tired form of abstraction is a salutary development and very different from the days when the objectness of Minimalism, performance, installation, and electronic media challenged painting.»

Camoin himself preferred a slightly less garish palette in both his landscape painting and portrait art, leading some art critics to characterize his style as closer to Impressionism than Expressionism.

This trend among British painters (one could also cite St Ives artists such as Roger Hilton or William Scott, as well as those from the next generation, including Gillian Ayres) was echoed in the conscious efforts of critics who tried to establish gestural landscape abstractions as an international movement.

Metropolitan Museum of Art: «Stieglitz and His Artists: Matisse to O'Keeffe» (through Jan. 2) Alfred Stieglitz was a mountainous presence in the landscape of early 20th - century American Modernism, as a photographer, critic and art dealer.

She is reluctant to think of her paintings as landscapes, imaginary or otherwise; and the notion that her work belongs to the tradition of «pastoral» painting, as Lawrence Alloway and other critics have proposed, strikes her (Continued on Page 62) as mostly rhetoric.

He is now regarded by many critics as one of the most influential Irish landscape artists of the twentieth century, and an important painter in the history of Irish art.