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...poor have always wondered how the rich live. But more to the point in America, the rich have always wondered too. Wealth on the scale of the 1880s in the U.S. was still uncharted territory. Its signs could get crossed. So the plutocrat needed an architect to create a seamless etiquette of shared ostentation, with variants, and that was what Hunt did with Newport...

Author: /time Magazine | Title: THE BEAUTY OF BIG | 5/21/1997 | See Source »

...communitarian notion he still trumpets regularly. Blair nevertheless rarely speaks about his faith in public, refrains from ending speeches with "God bless you" and never attends high-profile prayer breakfasts with prominent religious figures. When asked by TIME if he is religious, Blair, who normally speaks in well-constructed, seamless paragraphs, became inarticulate: "I am, but I don't...you know...every time I talk about it...it's just...I don't want to...my, er, my religious convictions have nothing to do with why people should vote...

Author: /time Magazine | Title: JUST LIKE BILL? | 4/28/1997 | See Source »

...goal with the program is to help make the transition for the children and the families as seamless as possible," said Lauren L. Kramer-Dover '98, the After School Program's clientele director. "We want to at least be a source of consistency for the children and the families...

Author: By Chana R. Schoenberger, | Title: Mission Hill Residents Oppose Proposed Swap | 2/18/1997 | See Source »

When she is tired, she can slide, invisibly and gracefully, into auto-pilot, so she can keep on thinking even as she tells her stories. Her voice is at once warm and precise--her transitions seamless as she knits together bits of speeches, sweet childhood memories, op-ed arguments, motherly advice--so that even a recitation feels like a personal confidence, shared over dinner with a stranger and a tape recorder...

Author: /time Magazine | Title: THE MANY LIVES OF MADELEINE | 2/17/1997 | See Source »

...subjects of photographer Catherine Opie's three portraits in "Face and Figure," on the other hand, wouldn't be caught dead on the side of a note cube. In "Vaginal Davis," "Ron Athey" and "Christopher Lee," Opie presents her subjects before seamless background paper, so they seem to float in space like several of Ritts' portraits, including those of dancer Bill T. Jones. Yet rather than classic black and white, Opie's colorful backgrounds scream in yellow, viridian green, and an ultramarine blue, which matches the color of Vaginal Davis' garish eyeshadow. Except for the tufts of curly green hair...

Author: By Scott Rothkopf, | Title: MFA Shows More Than Just a Pretty Face | 2/6/1997 | See Source »

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