Word: depictions
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Dates: during 1990-1999
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...stunning as they are ancient. Painted or engraved on rock surfaces hundreds, thousands and even tens of thousands of years ago, they portray hunters armed with bows and arrows in hot pursuit of antelopes, lanky men straddling galloping horses, and exquisitely drawn charioteers urging their steeds on. They depict herds of elephants, loping giraffes, elegantly antlered impala and mythical creatures drawn from the imagination of artists long since in their grave...
...wanted posters tacked to the walls of courthouses around the country normally depict carjackers, kidnappers and other scruffy lawbreakers on the lam. But these days the flyers might just as well feature distinguished men and women in long dark robes beneath the headline HELP WANTED. As of this week, 100 seats on the 844-person federal bench are vacant. Case loads are creeping out of control, and sitting judges are crying for help...
...ends with a strong, heart-churning rumination on love and longing. Apart from a silly subplot involving a grade-inflation scandal, this is a smooth, insightful read. American writers dealing with race relations tend to focus on black-white or Asian-white situations; Revoyr has the imagination to depict racial issues in which whites are not the reference point...
When Oppenheim claims that there should be no excitement over ABC/Disney's move to depict a lifestyle that America already knows exists, he is ignoring the fact that simply because television should reflect life does not mean that it does. Networks, with careful eyes to demographic groups and the mores of middle America, often lag behind the dynamic society. If homosexuality is prevalently accepted (as Oppenheim supposes), then why aren't there more openly homosexual characters? It is because the networks have resisted those depictions and are now finally realizing that they have to catch up and become more contemporary...
...Narrative" is one of the most convincing, even if broad, themes that Phillips and Neri trace in the show. Kara Walker's black silhouettes applied directly to the Whitney's white walls depict surreal scenes from slavery in the Old South. Demonstrating a keen sensitivity to the 19th century African-American literary tradition, Walker's imagery slips between history and fantasy, redemption and horror. Her striking installation monopolizes the historic connotations and graphic irony of the cutpaper silhouette, which despite its crisp, precise line shadows its subjects and prevents full narrative disclosure. In addition, both Zoe Leonard's archive...