Word: shock
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Dates: during 1970-1979
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...Though its stress is on safety, it turned out to be a sporty-looking, high-priced ($6,500) vehicle with several unusual features. Its gull-wing doors need only a 10-in. clearance to open fully, minimizing the risk of side swipes. Polyurethane bumpers are designed to absorb the shock of a 10-m.p.h. collision, double the legal minimum, by receding into the body. The Bricklin's body is made of a corrosion-proof, vacuum-formed acrylic that is impregnated with color (Safety Red, Safety Green, etc.) rather than painted. Bricklin will put the new car, which is being...
...frosty, antiseptic hues, giving every scene the air of the laboratory. The hospital where the operation is performed on Benson (George Segal) is called Babel. The doctors (Joan Hackett, Richard A. Dysart, Donald Moffat, Michael C. Gwynne) dress in white uniforms that make them look almost military, like shock troops of the future. After Benson has had the operation, which misfires, he runs all over Los Angeles killing at random, until he is violently dispatched by a couple of police sharpshooters...
...country reacted with shock to the alert. The inevitable suspicion was that the alert, or at least its extent, was caused by a political desire to divert attention from Watergate. The Kalbs report that Kissinger later admitted, privately, that the alert had perhaps been on a larger scale than necessary. At any rate, as he and the Kalbs see it, the alert gave the Russians a clear signal of U.S. determination not to allow unilateral intervention in the Middle East and made possible a U.N. resolution for a peacekeeping force excluding the two superpowers. It was an illustration of Kissinger...
...shock value of the Women, as imagery, has receded. As Philip Larson points out in his catalogue introduction to the show, "The generalized woman-image becomes a 'given' in De Kooning's art, allowing the artist to proceed immediately to the essential business of making a picture." The Women series, as the drawing made circa 1952 immediately makes clear, contained that private neurological signature known as style: the capacious, whipping curves of breast and thigh, the brisk L of the arm responding to the angles of the chair legs, the shallow, vigorous flurry of space and line...
...spread, over Cragun's waiting shoulders. Tetley amazingly seems to have taught his dancers how to bow their hips into trompe l'oeil convex forms. The two couples slide through a visual glissando of sexual exercises so explicit yet so subtle in execution that the intimacies never shock -except perhaps with the revelation of the extreme possibilities of what a dancer's body can be made...