Word: mannequins
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Dates: during 1970-1979
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...fact it will. "There are no other dresses," protests one of the men, later. And when one young woman cries of a pair of well-formed breasts suspended from a hanger, "I don't want it!", the mannequin (alive) answers firmly, "Everyone wants it. It fits...
...AFRAID. It would be so much easier simply to stop now, to choose and be done with it, to leave certain questions unanswered. Aili prods, "Keep going, Mary. Keep going until you know who you are." In the closet, the mannequin (Anne Barclay), an old woman now, with smile frozen, holds up a tattered veil. Frozen stiff with waiting. she holds forth the veil to the younger women; it is their turn to wait. And when He comes, she says, "strangle him with it." One solution...
...your designs, not mine," there is no real response, for just whose designs are they? The designer, a man, answers, "You don't like my designs? Fine. There are plenty of women out there who do," but we know he is as terribly trapped as we. The mannequin cowers in the closet. And Mary responds, chanting, "Wow. Wow," as the men murmur. "Pose, Smile, Change," and, "Bang, I'm a man." Aili screams for help...
Mather House is the future. Stone cold, fluorescent, angular, it juts into our eyes like a stiletto from the next century. Its proportions are so gargantuan that even an unwilling observer is thrown into the role of a tiny mannequin in an architect's scale model. The low-rise section has the sinuousness and personality of a granite python, and the tower rises mute like an Aztec altar. Some people claim that architecture like this requires a new grammar of response; I think instead that Mather House almost demands that we abandon our way of seeing...