Word: essayed
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Dates: during 1980-1989
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...emotional response, photography can seem too realistic, too specific to reflect and enhance the subject's nuances. For these stories, the editors often turn to the art world to solicit original work, including drawings, paintings, collages and prints, that can better evoke the meaning of the text. The Essay section is, by its nature, one that regularly employs such illustration. Occasionally a cover story lends itself more to art work than to photography. In June, for example, to accompany the Medicine article on stress, Eugene Mihaesco contributed several drawings depicting its deleterious effects. A March cover story...
Cloned Humanity Charles Krauthammer's Essay on our tendency to believe that everybody is "just like us" is sublime [Aug. 15]. Neither people, as discrete personalities, nor cultures, as macrocosms of small social groups, are alike. The piece is a modern exegesis of an established and immutable truth. When I was an undergraduate 45 years ago, it was labeled "individual differences...
...Your Essay on the need for patience in our relationship with Central America is accurate, reasonable and to the point. It makes clear why the present unilateral U.S. actions are dangerous. Our policies cannot be sustained long enough to induce the kinds of changes that are necessary in this region...
...Historian Irving Sandier remarks in his catalogue essay, Pearlstein "resumed what an avant-garde some three-quarters of a century earlier had proclaimed to be academic"-modeled painting of the naked human body. The studio nude, posed, had been the very protein (or, to its detractors, the basic starch) of salon painting from Ingres to Bouguereau. It was thrust into eclipse by impressionism because it carried an aura of the posed, the stagy, the allegorical, and post-impressionism finished it off. The nude became a casualty of the means painters chose to assert their pictorial honesty: the near religious cult...
...former public school, in September, is of great interest: it is the first systematic museum show of this material in America. Art Historian Jack Cowart, who assembled it, wisely refrained from trying to cover everyone. Instead, he chose five "exemplary" figures, the most influential and (although his catalogue essay waffles on this point) the aesthetically superior ones: Georg Baselitz, Jörg Immendorff, Anselm Kiefer, Markus Lüpertz and A.R. Penck...