Word: inch
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...party, and NBC's put a chilly bit of a damper on what should have been a bright day for the season's most commercially successful network: an unseasonably cold May rainstorm forced the Rockefeller Center party crew to throw up tents, as waiters continually swept away a half-inch of rainwater with brooms. (Insert metaphor for the networks vainlly trying to sweep away the tide of cable and audience fragmentation here.) Still it didn't stop your valiant reporter from rubbernecking at Ashleigh Banfield (who held court around a teensy drinks table - or was it Tina Fey?) and swiping...
...least, Richter was easy to miss. Think the words "new German art," and you think "neo-Expressionism." Think that, and the heart sinks. Heftige malerei, the German critics used to call it, "heavyweight painting," and it was certainly crude enough for three drunken gnomes and a village woodcutter. Inch-thick paint (the stuff that used to mean "sincerity" in the 1980s, remember?) and sculptures mutilated from tree roots with chain saws. All this rhetoric, now so comic, had its equivalents in the States (think of Julian Schnabel and his pretensions), but Germany was its homeland, or Heimat, if the word...
...Wolverine infinitely more attractive than Mr. Fantastic? I posed this question to a few diehard fans and they pretty much focused on the samething: the superpower. It has to be spectacular. What guy doesn’t want rip-roaring brawn, the ability to heal himself and 12-inch retractableclaws? On the other hand, Mr. Fantastic can-what, stretch himself...
Sheng’s work is one of five photographic theses, including the work of Wing. Her photographs are of corporate interiors that are adorned with artwork. They depict hallways, waiting rooms and other spaces that would normally be overlooked. Using the 4-by-5 inch format—a type of negative that captures great detail—Wing was able to expose every aspect of such areas, magnifying the overlooked and placing it in deep focus...
Also present in the show is the work of Efrat Kussell ’02, whose paintings deal with person-to-person confrontation at the most basic level. Kussell’s works depict the heads and faces of her peers on 12- by-18 inch canvases. Her style is realistic, and the faces are made only slightly larger than actual size, allowing for the illusion of a real-life confrontation. “The size was a formal decision and one appropriate to the project. The subjects are life-size and fill the frame,” Kussell said...