Word: matters
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Dates: during 1980-1989
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...censure the ad by calling for a boycott. Advocating boycotts is a form of speech protected by the First Amendment. As Nat Hentoff, journalistic custodian of the First Amendment, says, "I would hate to see boycotts outlawed. Think what that would do to Cesar Chavez." Or, for that matter, to Ralph Nader. If one disapproves of a social practice, whether it is racist speech or unjust hiring in lettuce fields, one is free to denounce that and to call on others to express their disapproval. Otherwise there would be no form of persuasive speech except passing a law. This would...
...that matter, who has been more insistent that parents should "interfere" in what their children are doing, Tipper Gore or Jesse Jackson? All through the 1970s, Jackson was traveling the high schools, telling parents to turn off TVs, make the kids finish their homework, check with teachers on their performance, get to know what the children are doing. This kind of "interference" used to be called education...
...case in point is the Corcoran Gallery's sudden cancellation of an exhibit of Robert Mapplethorpe's photographs. The whole matter was needlessly confused when the director, Christina Owr-Chall, claimed she was canceling the show to protect it from censorship. She meant that there might be pressure to remove certain pictures -- the sadomasochistic ones or those verging on kiddie porn -- if the show had gone on. But she had in mind, as well, the hope of future grants from the National Endowment for the Arts, which is under criticism for the Mapplethorpe show and for another show that contained...
...artificial flowers attached to electric poles -- right next to real trees. Those based in Tokyo, for example, would be hard-pressed to find any sizable patches of green in the neon-drenched, congested concrete megalopolis that sprawls around their tiny studios. All of the featured artists' works, in subject matter as well as execution, not only defy tradition but in some cases tear it to shreds...
...brushy abstract expressionism with the pattern-oriented design sensibility of traditional Japanese textiles. Often his splashy tableaux resemble spread-out kimonos. Typically, as in Untitled, 1985, they are covered with an obsessive, all-over rash of heavily impastoed, drippy dots. Far less theatrical but also keenly focused on subject matter and technique, sculptor Katsura Funakoshi creates blank-faced portraits of everyday people whose looks betray neither race nor nationality. Made from camphorwood, his torsos are as skillfully carved as the ancient Buddhist sculptures whose construction they recall. Psychologically intense, they are also a little bit spooky...