Word: felting
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Dates: during 1970-1979
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...evening to cruise to an easy gold medal in 4:26.78, three full seconds under the NCAA Championship meet qualifying time in the 500, but two seconds off his meet record pace of one year ago (the only time all night when the meet record was not bettered). "I felt really strong," said the Yonkers flash afterwards. "I just wanted to go out fast and work on my pace, and that's just what I did." Indeed he did; Hackett reeled off a 49.77 for his first 100 and it was never close after that...
...really think about that sort of thing. In high school (in Cheverly, Md.) I was one of two black women athletes and I never felt the pressure from whites or blacks. Here I think things are over-shadowed by the whole uprising of women's sports. They haven't reached the racial stage yet. I hope they won't," she said...
...loss to Boston University on February 4. Linemate Lauren Norton swooped into the Terriers zone, then left a perfect drop pass to Reed, who wristed it into the upper corner of the net. Recalls Reed: "It was just fun to see that play work--it felt really good...
...years ago, the word salon was scorned in the art world. It suggested a chaotic visual mob scene with thousands of mediocre paintings and sculptures stacked from floor to ceiling of an exhibition hall, accepted or rejected at the whim of reactionary committees. Good art, it was felt, did not disclose itself in crowd scenes. It was found in small concentrations in private galleries, or in tightly curated theme shows in museums, or in artists' retrospectives. Lately, however, some virtues of the 19th century salon system−for until the rise of the private dealer in contemporary art after...
...only "big" movement of the 1960s with an aesthetic that continues to be felt in the 1979 Whitney Biennial is, oddly enough, minimalism−a style made up of simple, primary, uninflected forms, usually garnished with tangled masses of oversubtilized criticism. Less, these days, does not seem to be more, especially when the work in question is yet another empty grid by Sol LeWitt, or something like Richard Serra's Toll, 1978-79−three walls of a gallery enclosure painted dead, oily black. In the past, some of Serra's sculptures have been memorable, their slabs...