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...modernity, since 20th century sculptors drew on Mexican sources for inspiration -- Henry Moore's reclining women, for instance, derive partially from the powerful crankshaft rhythms of Yucatan Chacmool figures. But the best pieces here, such as the stone figure of a standard-bearer from Chichen Itza with its fierce gaze and crippled foot, are beyond such comparisons. From the delicately modeled stucco glyphs of Palenque, imbued with an almost rococo elegance, to the frightful severity of Aztec pieces such as the cuauhxicalli, or blood receptacle, in the form of a stone eagle, ancient Mexican sculpture is as powerful...

Author: /time Magazine | Title: Art: Onward From Olmec: Mexico: Splendors of Thirty Centuries, | 10/15/1990 | See Source »

...Saddam's contradictory legacy abound: housing projects only half- finished, soccer stadiums and no foreign teams to play in them, empty hotels with antiaircraft batteries on their roofs. The city is at once sinuous and Stalinesque: palm trees and concrete mausoleums with a martial theme. And everywhere the gaze of the maximum leader. Hundreds of billboard-size portraits are painted on buildings, framed in traffic circles, displayed in lobbies: Saddam drawing sword, Saddam on stallion, Saddam in sunglasses, Saddam in camouflage fatigues, Saddam looking like Xavier Cugat in white suit, Saddam slaying the infidels. In the city center...

Author: /time Magazine | Title: The Gulf: In The Capital of Dread | 10/8/1990 | See Source »

...story also fits comfortably into the Pudding's tradition of poking fun at a particular era or theatrical genre. However, the musical strikes new ground in its choice of the 1940s, a period which, according to Pudding officers, had never before fallen under the organization's satirical gaze...

Author: By Matthew A. Light, | Title: Pudding Looks to Hollywood | 9/25/1990 | See Source »

Beside the effervescent Morris, Baryshnikov is rather severe, intently examining the image in the mirror when he is dancing, contemplating Morris with a fixed eye when he isn't. His gaze looks critical, but that's not the case. "I try to figure out the way he works and anticipate him," Baryshnikov says cheerfully. "But I never...

Author: /time Magazine | Title: Dance: The Mark and Misha Show | 9/17/1990 | See Source »

Pictures hang high on the walls of a Palestinian's house, the tops of the frames nearly touching the ceiling. Is it that such elevation of the gaze suggests respect for the figures pictured there -- for the father staring down in formal Arab robes, for the first son, working in one of the gulf states and sending home the money that the family survives on? Such images look down upon Qassem in his sitting room. His own gaze is lowered. He is talking about his prison time and about being interrogated by Israeli agents...

Author: /time Magazine | Title: An Intifadeh Of the Soul | 7/23/1990 | See Source »

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