Word: o
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Dates: during 1980-1989
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...fall of 1986, ORCA had a team, a release site and a detailed plan. Heading the group were two Californians, Virginia Coyle and James Hickman. Abigail Alling, a whale biologist, located remote tidal creeks in Georgia that abound with wild dolphins. Richard O'Barry, the former trainer for the Flipper television series, was hired to "untrain" the dolphins...
ORCA developed its plan for the release in consultation with the federal Marine Mammal Commission. Last fall the project got under way. Alling taped underwater sounds at the Georgia site to familiarize the dolphins with their new habitat. To deprogram them, O'Barry simply reversed normal training procedures. Instead of rewarding the dolphins when they performed, he would turn his back. To ease their transition to catching moving fish for food, the team clipped the tails off mullet to slow them down...
...give a false impression of the danger the children were in. Van Wingerden's investigative techniques are also suspect. She reports on Friday, August 8, that I had yet to speak to Frank Rose about the accident. I spoke to Mr. Rose Wednesday, August 6, around one or two o'clock, a good 30 hours before The Crimson went to the presses Thursday night. Mr. Nordhaus's article is loaded with errors. He repeats Ms. van Wingerden's reference to "funny noises" coming from the engine, something which I have never said I heard. Nordhaus, in the same sensational tone...
...National Museum of Women in the Arts is a virtuous bore. Until ten years ago, with a few resolute exceptions like Georgia O'Keeffe, Mary Cassatt and Louise Nevelson, women artists were shabbily treated by American museums and either omitted from their collections or treated as token presences. The idea that art by women was necessarily second rate lingered discreetly in some quarters through the '70s. Today it is gone, at least in America. Apart from political enlightenment, one of the things that killed it was the growth of the art market. Now that any list of collectors' favorites...
...that got their own museum. It is short even of major works by women whose historical significance has been admitted for decades. Its inaugural show, American Women Artists 1830-1930, consisted mainly of loans; but even so, except for some paintings by Cecilia Beaux, Romaine Brooks and, of course, O'Keeffe, it was a dull florilegium of derivative kitsch. Who would waste ten minutes on these sub-Sargent portraits, these mincing imitations of Childe Hassam, these genre scenes crawling with dimpled rosy brats, if they had not been painted by American women? And what serious artist wants gender...