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...sourdough starter here, the mold from which all other efforts have grown, is the 1992 Men Are from Mars, Women Are from Venus, and that, at least, seems to have been a beautiful idea. It has sold a staggering 6 million copies--making it, according to publisher HarperCollins, the best-selling hard-cover nonfiction book ever--and has been published in 38 languages. The book has earned Gray somewhere in the neighborhood of $18 million. And that's not counting the spin-offs. So far Gray has produced Mars and Venus in the Bedroom, Mars and Venus in Love, Mars...

Author: /time Magazine | Title: TOWER OF PSYCHOBABBLE | 6/16/1997 | See Source »

...ability to break the mold doesn't surprise those who know Ashong...

Author: By Victoria E.M. Cain, | Title: Ashong Trades Harvard's Yard for Spielberg's Set | 6/5/1997 | See Source »

...change within the houses is concerned, the impact of randomization varied across campus. Some sophomores complained that juniors, seniors and administrators of Adams House were unreceptive toward randomized students who did not fit what they considered the typical Adams mold...

Author: By Aaron R. Cohen, | Title: Randomized Housing Lottery Procedure Enters Second Year | 6/5/1997 | See Source »

After Pop and side by side with it came impersonality--Minimalism, conceptual art and a vanguardist belief in the death of painting. But the artist who did most to break the mold of late-Modernist formalism in the '70s was a former Abstract Expressionist, Philip Guston (1913-80). His work over that decade redefined the terms of painting for a whole generation of young Americans, opening up the possibilities of the painted figure once more. In their time, Guston's paintings seemed like a kind of treason to the high-minded refusals of late Modernism, but therein lay their newness...

Author: /time Magazine | Title: BREAKING THE MOLD | 5/21/1997 | See Source »

...contrast to these technology-obsessed works, Gabriel Orozco contributes a table cluttered with quiet, ephemeral models. His attention to materials and tiny scale transforms dried oranges, spotted seed pods, a papier mache mold of a sock, and a tower of Yardley soap boxes into intimate marvels. These laconic sculptures demand (and deserve) our thought and time, as do Orozco's elegant photographs which reveal his sensitivity to natural mysteries and visual puns, like a cluster of sleeping sheep in Common Dream, or a languid hose seeping water on the floor in Hose (Manguera Dormida). His small, subtle observations play beautifully...

Author: By Scott Rothkopf, | Title: The Greatest Show on Earth | 4/17/1997 | See Source »

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