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...Permalight” finds Rogue Wave in transition. The Bay Area indie band’s first two albums, 2003’s “Out of the Shadows?? and 2005’s “Descend Like Vultures,” were both critically praised as mixtures of lo-fi acoustic numbers, rockers, and soulful, sometimes morose pop songs, drawing endless comparisons to classic indie bands like Built to Spill and The Shins. Before their 2007 follow-up, “Asleep at Heaven’s Gate,” they were dropped...

Author: By Thomas J. Snyder, CONTRIBUTING WRITER | Title: Rogue Wave | 3/2/2010 | See Source »

...appropriation that were not answered, or even addressed, in the context of the recital. “Shadows,” choreographed by Brenda Divelbliss, a Harvard Dance Program instructor, conformed most closely to the stereotypical notion of modern dance. Unlike the other pieces, the abstract “Shadows?? did not adhere to any particular narrative or seem motivated by an aesthetic originating outside the world of modern dance. While the piece’s thematic insularity and lack of narrative made it less engaging than the preceding dances, it showcased the dancers’ technical precision...

Author: By Bernard L. Parham, CRIMSON STAFF WRITER | Title: ‘Dancical Werks’ Captures the Mood | 4/17/2006 | See Source »

...taboo, exploring both the issues of male-male eroticism as well as challenging the stereotypical roles of good and evil. This delicately handled glimpse into the subconscious fantasies of Michelangelo is made even more powerful by the presence of the enormous, one-eyed Technodrome that watches voyeuristically from the shadows??a monstrous and appropriately jarring manifestation of the voyeurism of the audience that looks on as Michelangelo’s deepest fantasies unfold...

Author: By S.a.s. Clark, CRIMSON STAFF WRITER | Title: Michelangelo is (Indeed) a Party Dude! | 2/13/2003 | See Source »

Kentridge’s lecture “In Praise of Shadows?? will take place today in room B04 as part of the Carpenter Center Lecture Series. Both the lecture and reception afterwards are free and open to the public...

Author: By Margot E. Kaminski, CRIMSON STAFF WRITER | Title: Primary Motion | 11/14/2002 | See Source »

...color technique he learned from Oskar Kokoschka), these paintings glow with blues worthy of Picasso’s Blue Period and warm coppers worthy of Georgia O’Keefe’s canyons. In works like “The Mantle” and “Tuscan Shadows?? Ablow’s objects are suffused with a ghostly iridescence. The color in the smaller gouaches, however, is not as successful, and the glaring colors sometimes clash in a muddy jumble...

Author: By Maria-helene V. Wagenberg, CONTRIBUTING WRITER | Title: Meditations on Space: Joseph Ablow | 4/27/2001 | See Source »

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