Word: set
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Dates: during 1970-1979
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...everything I own into her. It's quite an investment. I've got to get it back." How much? "That's my secret." The Leavitt will use cotton sails, partly because they are cheaper, partly because they wear longer on a working ship. A set will probably cost $15,000. Her hull and spars must have cost more than $350,000. The total outlay had to be considerable. But, snaps Ackerman, "whatever it is, there is no mortgage. Not one cent...
...calliope, stepping ashore periodically to shake hands, dandle babies and try to sell his energy program. Back east his top foreign policy aides were engaged in public disputes over who was in charge of U.S. policy in the Middle East and over what that policy should be. The disputes set off dangerous waves. Leaders of black and Jewish organizations, still at odds over the resignation of Andrew Young as U.S. Ambassador to the U.N., held a series of meetings that ended in mutual recriminations...
...Kubrick successfully escalated his film at each stage, even topping the seemingly unbeatable light show with a more bizarre finale. Coppola, while creating progressively weirder war scenes, runs dry before he reaches his crucial imaginative leap: Kurtz's fastidiously designed compound looks as tame as a set in an oldtime jungle horror movie. His murder, which is archly intercut with the ritual slaughter of a carabao, is the film's only poorly shot death scene. Apocalypse Now's much talked-about discarded ending - another air raid - would not have illuminated this murk...
...aggressive, urban character and used real props: stacks of oil cans, winking beer neons, even the inside of a scrapped subway car, with seats, hanging straps, lights and all. Some 15 years later, after a revival of realism in American art that Segal, among others, helped to set off (his plaster molds, for instance, are the direct ancestors of Duane Hanson's ultrarealist wax people), his connections to Pop look tenuous indeed. In this changed context, it is the figures and their mood, rather than their surrounding artifacts, that one notices first; and they connect to an older realist...
...much distance to allot between one figure and another, how much emptiness should come between a silhouette in a bar and the profile of a metal letter, and how to maintain a kind of iconic austerity in an impure medium that could easily become cluttered with props and set dressing. Segal is no formalist, but his sense of the abstract underpinning of sculpture cuts down on what might otherwise have become a tough-but-tender street sentimentality. He is, as the catalogue suggests, a "proletarian mythmaker," though not in a political sense; and no other sculptor working in America today...