January 18, 1994 |
Beate Heuss had nearly conquered her fear when she felt it again. That's why it was so terrifying. It was happening again. She and her husband, David, were in bed, like the last time. In a mobile home, just like the last time. It was, in fact, the same mobile home, at the same trailer park. "This one felt much worse," she said afterward, calm but able to remember every tremor, then the shaking, then the violence. "It was much harder, a hard jolt. The '71 one swayed a little. " But this one did not sway.
October 25, 2013 |
Elin O'Hara Slavick photographs survivors of the atomic bombing of Hiroshima. Not human survivors but objects that factor into everyday life - bottles, brooms, combs - and emblematize their users. Technically, the pictures are photograms, direct traces of the physical objects themselves. What Slavick produces are ghosts, haunting images from a past that, to paraphrase Faulkner, is neither dead nor past. A professor at the University of North Carolina at Chapel Hill, Slavick is engaged in what she terms “ethical seeing.” She examines the aftermath of war, its visible residue, as an act of remembrance, a kind of post-witnessing laced with pathos and latent protest.
July 30, 2012 |
At Cherry and Martin, a three-artist show takes visitors back to school. But rather than educating us about anything, “Bush of Ghosts” treats the pranks students play as an art form. No one does this better than Nathan Mabry, whose life-size bronze sculpture of a cowboy astride a bucking bronco would be right at home in any collection of Western art, except that the cowboy's head has been replaced by that of a ferocious monster, its fang-filled mouth open wide. Nearly 12 feet tall, Mabry's statue makes Frederic Remington look as hip - and significantly more ambitious - than many young sculptors, who seem to want nothing more than for their work to be accepted as "unmonumental.
November 14, 2013 |
Many documentaries steeped in social or political issues get very insistent and often very noisy in expressing a point of view. Michael Moore is of course the model for effective, engaging and defiantly in-your-face activism in this arena. In contrast, "The Ghosts in Our Machine," a heartfelt meditation on animal rights, comes at you as a whisper. It depends on the persuasive powers of creatures great and small - in their natural habitat or in cages - to argue that we stop using them for food, clothing, research and entertainment.
January 31, 2013 |
"The Haunting in Connecticut 2: Ghosts of Georgia" might win for most unwieldy title of the year, but there's little else to distinguish this movie, related to the 2009 film in name only, from the recent crop of supernatural horror thrillers supposedly based on true stories. Here, a family moves to a remote property picked up on the cheap, and the young daughter (Emily Alyn Lind) begins to share the same "gift" as her mother and aunt (Abigail Spencer, Katie Sackhoff), an ability to see and communicate with spirits.
May 1, 2009 |
"Ghosts of Girlfriends Past" is an amusingly sentimental whiff of a romantic comedy, a modern-day morality tale that is a little "It's Not Such a Wonderful Life" and a lot "A Very Un-Christmas Carol." Instead of Jimmy Stewart's George Bailey despairing over a life lived in service to the greater good, we have Matthew McConaughey as a man relishing a life lived in service to the greater bad.