Word: criticism
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Dates: during 1990-1999
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...illegal to use federal money for research that involves human embryos--leading both the Johns Hopkins and Wisconsin groups to seek funding from Geron Corp., a biotech firm based in Menlo Park, Calif. But staying within the letter of the law has not saved the scientists from attack. Biotechnology critic Jeremy Rifkin petitioned Congress last week to ban all privately funded research into embryonic stem cells so that there can be a "full investigation of the profound long-term social and ethical implications of the technology." Right-to-life activists chimed in as well. The stem cells were taken from...
...Ohio state senator Charles Horn, a persistent critic of tax abatements, put it when commenting on concessions granted GM, "We know companies are manipulative, but it's the nature of business to go after every dollar that's legally available. Don't place the blame on the company; place the blame on government. This is government's folly...
...critic Robert Hughes praises Richard Serra's monumental "sculptures" that required "tanker technology" and steel-milled plates [ART, Oct. 19]. If Hughes wants to see large pieces of steel, put him on the subway to the outer reaches of New York harbor, where he can watch ships pass through the Verrazano Narrows. Modern art is the biggest practical joke in history, and Hughes has fallen for it. The true artists are the ironworkers and shipwrights who build today's floating monsters. GARRY JAFFE Chicago...
Spooky: I think it's an issue that the artist usually gives up control of the matter once the music goes out or once a critic goes by the gallery. They become the interpreter of the aesthetic. And to me what I'm doing is dealing with the notion of a conceptual framework where narrative itself becomes an ambiguous and amorphous place. Your music, who created it, who owns it, who distributes...
This pseudo-biography of Cecilia Bartoli is in fact only a way for Hoelteroff to neatly package all of the opera gossip that she has collected over a lifetime of being a devoted (obsessive?) opera fan and a cultural critic for the Wall Street Journal. Although Bartoli's seductive portrait is emblazoned on the cover and her name is included in the title, Bartoli remains elusive in the narrative. Hoelterhoff followed the shy off-stage mezzo on and off from 1995 to 1997 and attempted to capture her "rags to riches" story by making a parallel between Bartoli...