Word: poing
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...golf game," explains Charles when asked why he does it. From Atlantic City, too, comes intriguing word about some of the other contestants. Miss Mississippi, Christine learns, was a twirler in her band at "Ole Miss" and a fraternity sweetheart, and is the proud owner of a poodle named Po-Co who is her jogging mate...
...jargon. Here, the palm for silliness must go to a Dutchman named Krijn Geizen, who built a reed hut and set a tuna to smoke on a rack outside it. This piece of mock primitivism was intended to say something about survival, in homage to the fishermen of the Po delta; but since the tuna was not caught by the artist but bought in the Venice fishmarket, the project looked vicarious, like Marie Antoinette playing shepherdess. What it had to do with art was anyone's guess. But then, art is a matter of context. It is what...
...orphanage of central government General Tang En-po stains memory with its smell. It stank worse than anything else I have ever smelled. Even the escorting officer could not stand the odor and, holding his handkerchief to his nose, asked to be excused. Abandoned babies were inserted four to a crib. Those who could not fit were simply laid on the straw. They smelled of baby vomit and baby shit, and when they were dead, they were cleaned...
...impeccable. The treatise comes in the middle of a boom: photographs now experience the same kind of inflation and distortion paintings did in the 1960s. Once the ignored art, photography now stands robed in puffery and armored with analysis; like painting, it has acquired its cast of heroes and poètes maudits. But not enough has been written on how photography acts on the real world: how it has altered our perceptions, our social relationships, our sense of reality. Such questions are fundamental. They haunt photographic criticism. But they seldom materialize as issues, despite the obvious fact that photography...
...story focuses on two best friends, born on the first day of the century in the rural Po Valley: Alfredo (Robert De Niro), the son of the area's leading landowner, and Olmo (Gerard Depardieu), a peasant who works the estate. During the film's first and better half, Bertolucci lyrically propels his heroes through the rituals of young manhood: they discover the meaning of sex and money, search for love and adjust to the passing of their family patriarchs (Burt Lancaster and Sterling Hayden). As Alfredo and Olmo grow older, their personalities are increasingly shaped...