Word: plasterers
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Dates: during 1990-1999
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...bust of President Adams' head and torso by J.B. Binon was given to Harvard in 1819 for the College's Philosophy Room by the Hon. John Davis. It measures approximately 66 cm by 50 cm. The plaster itself is very light, oney said, which may have facilitated its removal from the library...
...those who live there, Bridgeport is a close-knit working-class neighborhood redolent of the 1950s. Plaster madonnas adorn people's front lawns, plastic Easter bunnies perch in picture windows at this time of year, and on Sundays families attend Mass at the Irish, Italian and Croatian churches where their grandparents were married. Bridgeport is a place where one can still see precinct captains and aldermen of the 11th Ward drinking at Schaller's Pump, and where sauerkraut soup is still served at a diner not far from the home of Chicago's legendary Boss, Richard J. Daley...
...group stumbled into a magnificent wreck. Water poured through a hole in the roof, mushrooms grew on the floor. "The theater was almost impassable," Stern recalls. "Plaster was all over the stairs, like an alpine slag heap. We each carried giant flashlights and wore hard hats. Birds were flying through, dropping their stuff as we passed. It was a mess, but of course a very romantic mess. Michael was quick to see not only the romance but the potential." What Eisner also came to see, after two years of tough negotiations, was a deal that included low-interest loans from...
...stalwart fellow with star quality, to purge his community of official racism and to help all those decent people of color in the supporting cast. And of course the black actors don't get to play anything so interesting as a villain. Goldberg has to fashion Myrlie into a plaster saint, smothered by reverence, while Woods, snorting some invisible snuff, can have fun and lock up an Oscar nomination. Ghosts of Mississippi argues fervently for racial equality in the New South; yet in its perpetuation of the caste system in Hollywood dramas, the film is anything but an affirmative action...
...little further back is another form of "targeting"--the virulent hatred and distrust of homosexuals as deviants and possible spies that the right encouraged. Johns was a reserved, closeted gay, and a work like Target with Four Faces, 1955, is all about threat and concealment. Its impassive, identical plaster casts of faces are contained in a box with a hinged door, a "closet" above the ominous target. Your gaze, in looking at them, is assimilated to the eye of the inquisitor, hunting out what is concealed. It is a pessimistic and, above all, defensive image...