Word: mueller
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Dates: during 2000-2009
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Senior agents are flooding out of the FBI in unprecedented numbers, many driven into early retirement by FBI Director Bob Mueller's energetic, impatient style. In his first six months, Mueller has replaced 80% of the senior headquarters staff, and he's about to name new commanders in nearly a third of the field offices. Latest to depart: the FBI's highest-ranking Hispanic, Ruben Garcia, 50, whom Mueller named just two months ago to be executive assistant director in charge of criminal and cybercrime investigations...
Alarmed at the lab reports, FBI director Bob Mueller sent an urgent alert to the FAA, air-security personnel and the law-enforcement community. He ordered agents based in Europe to find out how Reid had acquired the explosives...
...first blush, the pieces included in the exhibit—by photographers Carlin E. Wing ’02, Jean J. Ryoo ’02 and Arwen K. O’Reilly ’02, as well as sculptor Kurt D. Mueller ’02—seem to further a well-worn thesis: commercialism is both cause and symptom of a deep-seated sickness of American—or Western?—culture, one that champions quantity at the cost of quality, efficiency at the cost of beauty...
...Mueller, too, damningly equates—or conflates—art and food. He glosses his own work: “19 fluff bunnies. Nineteen cast plaster rabbits covered with Marshmallow Fluff™. Cast-cover-drip-display-shine-sniff-distaste-desire-ad nauseum.” And true to this description, he offers a bevy of 19 frighteningly exaggerated marshmallow bunnies, perched atop cans of paint on a transparent tarpaulin. They are, to be sure, shiny and distasteful, but again this seems to be Mueller’s intent. The bunnies aren’t themselves sculptures?...
Importantly, the pieces in “Over–stocked” are crucially interdependent—none make full sense apart from the context of the others. Wing begins the discussion deceitfully, suggesting that the show will be a trite critique of consumer culture. Quickly, though, Mueller and Ryoo dissolve this notion and turn the critical microscope onto art itself. And finally, gracefully, O’Reilly gestures at a resolution. Together, the artists’ work comprises an organism, and any attempt to understand it atomically or deconstructively will be misinformed...