Word: finning
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...historical necessity. Almost alone, he bridged the old and new centuries. He was at home in the twilight romanticism of the 1890s. But he was also one of the first to recognize the vigorous new iconoclasts, whose art and music would soon sweep away the lingering shades of the fin...
...buzzing little boat and three sister craft were manned by members of an international conservation group called Greenpeace, which was founded a decade ago and has been protesting whaling operations throughout the world. Whenever a fin whale rose up from the depths to blow out air in a watery spray, the inflatable would run brazen interference for the giant mammal, interposing itself between the whaler and its quarry. With growing frustration, Captain Thordur Eythorsson, 36, stood by his ominous-looking harpoon gun atop the whaler's bow, unable to make his kill...
...hours, the stalemate continued. Every time the whaler angled close enough to the fins for a shot, one of Greenpeace's four inflatables would dodge into its way. The contemporary Ahab was forced to hold his fire lest he hit the protesters. Finally, after two misses, the captain got off his shot when one fin surfaced directly in front of the catch boat. It was a painfully slow demise for the beast; to minimize the danger to the protesters, Eythorsson had removed the explosive cap from the harpoon. Cabled TIME Correspondent Erik Amfitheatrof of the grisly action: "The creature...
...usual, the fin was pumped with air and towed to the Icelandic whaling station 30 miles from Reykjavik to be carved up. Back on shore, Greenpeace Leader David McTaggart, 47, a dedicated environmentalist who had sailed a ketch into France's South Pacific nuclear proving grounds in an effort to halt atomic testing, addressed his companions: "What we saw today was disgusting ... disgusting. The whale is a mammal. It makes love. It is warm-blooded. It has been here 40 million years longer than we have...
...brutal fate of the culture they discuss and, as art history, are not pitched at the level of scholarship a European audience feels entitled to. But it is the work that counts, and must be seen, in all its energy and episodic magnificence: a vast panorama, from the haunted fin-de-siècle symbolist canvases of Mikhail Vrubel to the last attempts, by painters like Alexander Deineka, to combine a social message with a post-cubist idiom before the freeze...