Word: formal
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Dates: during 1990-1999
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...last December Magaw rehired the men. ATF had discharged them two months earlier, after both had spent nearly a year on administrative leave at full pay. The settlements granted the men full back pay for the brief period of their formal terminations, expunged their records of all disciplinary action, and restored their past salaries and their eligibility for law-enforcement pensions. It did, however, strip them of their official status as federal investigators empowered to carry guns and enforce federal law. Magaw says he took into account the men's long years of service and his opinion that their performance...
...raiding party's first target, a 30-year-old drug dealer named Darrin Pippin. The evening of the raid, Klipfel challenged the officers, triggering a violent argument in which one of the officers kicked the door of her car and threatened her and her family, according to a formal statement she filed with ATF. "The cops were so mad," Klipfel says. "I just couldn't be sure. I felt that my children just were not safe." She got home at 1 a.m. and immediately moved her children into the closet...
...strategic, diplomatic and moral mistake." Yet while both men threatened to block funding for a U.S. embassy in Hanoi, neither cared to acknowledge that the machinery of recognition had been set in motion by George Bush--and that the U.S., together with every other country, continues to have formal relations with all sorts of governments it does not altogether like...
...history or criticism but analogies in writing. (Since, unlike most curators, the writers can write, one can read this vade mecum with pleasure after the show.) The idea is to show how pervasive the areas of American experience that Hopper raised have become. The show falls between two more formal Hopper events: the recent publication, at long last, of Hopper's catalogue raisonne, and a definitive biography, due in the fall. Both are by the leading Hopper scholar, Gail Levin, and represent 20 years of work...
Hopper gives us a created world, not one that is merely recorded. Everything in it is shaped by memory, sympathy, distance and formal imperatives. Nothing is there merely because it "was there." Mark Rothko hated diagonals, but loved Hopper's. Richard Diebenkorn loved diagonals and loved Hopper's too. As well anyone might: the diagonal, the slanting patch (especially of light) becomes a wonderfully expressive element in Hopper, acting both as a structural brace for the actual painted surface and as a sign of fugitive reality in imagined space. In Morning Sun, 1952, you are acutely aware that...