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...states have been without a death-penalty provision. It seems that Americans want it both ways, retaining the right to exterminate miscreants, as well as having the option not to exercise that awful power. It is easy and sometimes appealing to talk tough and demand mercilessness in the abstract. But to really "fry the bastards"? How many? Which ones? "What a person says on a public opinion poll," observes Thomas Reppetto, president of the Citizens Crime Commission of New York City, "and what they'll say on a jury, might well be two different things...

Author: /time Magazine | Title: The Death Penalty: An Eye for an Eye | 1/24/1983 | See Source »

Like his "Abstract" gown of 1953, they were all fashioned with a mathematical precision and structural daring that made them distinctly contemporary and distinctively James. His signature was as bold as, say, Alexander Calder...

Author: /time Magazine | Title: Living: Puttin' on the Ritz in Gotham | 1/10/1983 | See Source »

...other hand, now suggests that we begin a campaign of cultural revisionism, that we establish a gallery of "Degenerate Art" as the Nazis did in 1937 to express their dissatisfaction with the abstract artistic messages of the early Twentieth Century. Nor should we expose our monuments, in humorist Walt Kelly's words, to anything like the Parisian School of underground poster artists and their credo of "Vive le moustache" or the alterationist defacers of New York's Subway School who have taken it upon themselves to redo Grant's Tomb, for example, with all the skill of "a messy monkey...

Author: By Evan T. Bart, | Title: Out of the Bronze Age | 1/7/1983 | See Source »

...abstract intelligence it could be that L.B.J., Nixon and Carter would rate highest among the modern Presidents. All suffered from a lack of judgment and proportion, which does not show up in IQ tests...

Author: /time Magazine | Title: The Presidency: Job Specs for the Oval Office | 12/13/1982 | See Source »

Because Hodgkin's type of abstract flatness admits the eye some way into the picture and identifies the surface as an imaginary opening, it has nothing to do with the idealized flatness of '60s American color-field painting. It hovers on the edge of scenic recognition, tricking the viewer into the thought that just one more clue might disclose a particular room or restaurant, a familiar scene. Sometimes it will. The most spectacular painting in the current show, In the Bay of Naples, 1980-82, presents itself as a soft hive of colored blobs, blooming and twinkling...

Author: /time Magazine | Title: Art: A Peeper into Paradises | 11/29/1982 | See Source »

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