Word: public
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Dates: during 1990-1999
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...basis of all impulses that must be mastered if man was to reach Truth, he renounced it. An aspirant to a godly life must observe the Hindu practice of Brahmacharya, or celibacy, as a means of self-control and a way to devote all energy to public service. Gandhi spent years testing his self-discipline by sleeping beside young women. He evidently cared little about any psychological damage to the women involved. He also expected his four sons to be as self-denying...
Those credos came together in the two principles that ruled his public life: what he called Satyagraha, the force of truth and love; and the ancient Hindu ideal of ahimsa, or nonviolence to all living things. He first put those principles to political work in South Africa, where he had gone to practice law and tasted raw discrimination. Traveling to Johannesburg in a first-class train compartment, he was ordered to move to the "colored" cars in the rear. When he refused, he was hauled off the train and left to spend a freezing night in the station. The next...
...famously cantankerous playwright, below left, inspired ACT-UP's famously confrontational protests for an AIDS cure in the late '80s. As a result, gay and lesbian civil rights are loud parts of public debate...
...Matisse paints The Red Studio, "discarding perspective, abolishing shadows, repudiating the academic distinction between line and color," as his biographer Hilary Spurling puts it. Already burdened by the Fauve ("wild beast") misnomer, his public saw his work as a threat "to undermine civilization as they knew it." At virtually the same moment, his great rival Picasso creates his equally masterly Cubist collage Still-Life with Chair Caning and Guitar, which reverses the centuries-old traditions of sculpture, focusing the spectator's eye not on the final effect but on the process and materials by which it is obtained...
...steam intellectually even as it gathered near dictatorial cultural power. Take the art world, for example: allied with the museums, the mass media and the marketplace, it began to wield, as early as the '70s, in Hilton Kramer's words, "a pervasive and often cynical authority over the very public it affects to despise." We live now in an age of empty "Sensation" (to borrow the title of the recent Brooklyn Museum of Art show) and debate not the subtleties of high craftsmanship but the appropriateness of public funding--talk about power!--for works that large segments of that public...