Word: marilyns
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...idea of a virtual grope is appealing for so many reasons, not the least of which is availability. Who wouldn't want to be able to make out on demand with Marilyn Monroe or your upstairs neighbor for that matter? Virtual sex would solve the perpetual problem of who to take home from a party. Who needs to settle for beer goggling when the man of your dreams in available electronically? A virtual man won't steal the covers for one thing...
Fifty years before Andy Warhol highlighted Marilyn Monroe's features and repeatedly printed her face, the northern German artist Emile Nolde accentuated a woman's hair, lips and eyebrows in color lithographs to produce a very different effect. Nolde's prints of a "Young Danish Woman" (1913) appear aged, as the Shroud of Turin. Like most of the works in the dazzling show Emile Nolde: The Painter's Prints and its satisfying counterpart Nolde Watercolors in America, the woman is a delicate relic rather than amass-market commodity. By changing his colors Nolde creates different women and reveals their different...
...series, the most iconic "Young Danish Woman" has gold skin and copper hair. Her head and ravishingly long neck float against the shadowy depths of a black background. Beneath her neck, a small rectangle suggests her shirt collar. Her face is sensuously smudged, unlike Warhol's perfect "Marilyn." Lushly foliated, she is as static as a figure on an ancient Egyptian coffin...
...windfall for Bruce Jordan and Marilyn Abrams, who created the phenomenon. In 1976 Jordan was performing in a Rochester, New York, production of Scherenschnitt (Cutouts, roughly), a psychological study by the Swiss playwright Paul Portner; and two years later, Jordan and Abrams were doing the play in Lake George, New York, "To us," says Abrams, "it cried out to be a comedy." The pair bought the rights (for $50,000) and set to funnying it up. They opened the play in Boston to mixed reviews and a flat box office. "We knew the audience was having a delicious time," Jordan...
...sound is the prevalence of bizarre non-sequiturs inserted into the lyrics, seemingly only for shock value. In the opening bars of the third track, "Heroine," Anderson sings, "She walks in beauty like the night/Discarding her clothes in the plastic flowers/ Pornographic and tragic in black and white/ My Marilyn come to my slum for an hour." While some might deem this cacophony of metaphors poetic, the sheer blender-mixed quality disturbs the song's coherence. This choppiness makes it difficult the type of emotional kinship that seems to be the band's goal...