Word: radiantly
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Dates: during 1990-1999
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...same waters with, respectively, provocative and banal results (New York Times critic described the typical subject of one of Sturges' photos as "just a J. Crew model with no clothes to sell"). Their work, however, has also been the subject of recent protests, and one of Sturges' books, Radiant Identities, is cited in the Alabama indictment...
...Bill Pryor, who started the grand jury investigation, said the work is "designed to elicit a sexual response" and therefore cannot be considered art. The indictment involves 15 counts over the sale of "The Age of Innocence" by French photographer David Hamilton and 17 counts over the sale of "Radiant Identities" by San Francisco photographer Jock Sturges. Barnes & Noble faces $10,000 fines on each of the 32 counts."We must protect children from those who would exploit their innocence for financial gain under the guise of so-called 'art,'" Pryor said Wednesday. The children exploited in the books were...
...most of Beethoven's Coriolanus overture; the level of orchestral precision is breathtaking. Even more remarkable is Willem Mengelberg's spellbinding presentation in 1924 of two fragments from Richard Strauss's Death and Transfiguration. Mengelberg achieves an almost spiritual intimacy in the work's tender, meditative broodings and a radiant beauty in its soaring climactic passages...
...Notes Toward a Supreme Fiction." Stevens outlines his perfect poetics with instructions such as "it must be abstract," and then taunts us with glistening seascapes and fragrant, ripe fruits. The prime difficulty and import of Stevens' work lies here: his subject is at once immanent and idealized, both a radiant presence and a metaphysical abstraction. In a similar fashion, Stevens' best known shorter poems, among them "Thirteen Ways of Looking at a Blackbird" and "Not Ideas About the Thing But the Thing Itself," concern themselves with the poet's subjective experience while invoking such austere, resonant imagery as to leave...
...series of generously proportioned, plain, high-ceilinged and top-lighted galleries that don't clamor for attention and do create a feeling of undistracted serenity. They recall the enfilade effects of older museums, but Meier has cunningly provided the links between them with unexpected openings, panoramic glimpses of the radiant townscape through glass walls, views of the museum's own light-struck exterior. It is a walker's museum, full of variegated spaces, points of rest, vistas, curves and a continual respiration between inside and outside...