Word: gazes
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Dates: during 1990-1999
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There always exists an overlooked aspect to every scientist and theory, according to Gould. Edmund Halley, for example, didn't just gaze skyward. He actually suggested a possible method of measuring the Earth's age by comparing river salt levels. Though the theory is flawed. Gould praises Halley's early efforts at such an important task, as he is careful to honor each of the characters in the history of science he discusses...
...queens have a symbiotic relationship, as do gay men and camp. Despite conservative rhetoric about boys-will-be-boys-by-being-girls, camp and homosexuality cannot be served from open another, simply because they've been blurred too often. In the name of propriety, we cannot simply refocus our gaze and separate the two into distinctly autonomous categories...
...Daumier do this? By fixing his pincer gaze on the theatrics of the law. In the drawing known variously as For the Defense and The Lyric Advocate, the lawyer's court robes puff out in baroque splendor -- one thinks, perhaps not irrelevantly, of Bernini's bust of Louis XIV -- on the hot air of his rhetoric, as he gestures at the man in the dock, a Jean Valjean whose simian face betrays not the slightest comprehension of what is being said on his behalf. Emphasized by the dark mass of the lawyer's sleeve, the short distance between...
Diller seems mellower these days, his steely gaze softened more often by a gap-toothed smile. Still, there is the cool, peremptory air of a man who has experienced power, and likes it. He talks in precise, carefully judged sentences and demands the same in return. Interviews are interrupted by phone calls that give piquant glimpses of the fabled "killer Diller." (After hearing about some new, unwanted contract language: "Tell him if he does not remove it, he can take the agreement and flush it in the river. If this is a manipulation, nobody's playing...
...care for and a child being involved." Her combined face-hand images, like Red Head, 1980-81, are particularly strong, perhaps because they so vividly combine a sign for openness and approach (the human countenance) with one for rejection or warding off (the open palm thrusting one's gaze away, or the threatening closed fist). But what underwrites these pictographs, and raises them above the level of emotional complaint, is the messy beauty of the paint surface -- the churned white ground like dirty milk, the obsessed play of nuance within the thick lines...