Word: showings
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Dates: during 1980-1989
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YESTERDAY, TODAY AND TOMORROW (NBC, debuting Aug. 2, 10 p.m. EDT). Topical issues will be examined from a tripartite perspective -- past, present and future -- in NBC's umpteenth try at a prime-time magazine show. Maria Shriver and Mary Alice Williams are among the on-camera crew...
...case in point is the Corcoran Gallery's sudden cancellation of an exhibit of Robert Mapplethorpe's photographs. The whole matter was needlessly confused when the director, Christina Owr-Chall, claimed she was canceling the show to protect it from censorship. She meant that there might be pressure to remove certain pictures -- the sadomasochistic ones or those verging on kiddie porn -- if the show had gone on. But she had in mind, as well, the hope of future grants from the National Endowment for the Arts, which is under criticism for the Mapplethorpe show and for another show that contained...
Luckily, cancellation of the Mapplethorpe show forced some artists back to the flair and cheekiness of unsubsidized art. Other results of pressure do not turn out as well. Unfortunately, people in certain regions were deprived of the chance to see The Last Temptation of Christ in the theater. Some, no doubt, considered it a loss that they could not buy lettuce or grapes during a Chavez boycott. Perhaps there was even a buyer perverse enough to miss driving the unsafe cars Nader helped pressure off the market. On the other hand, we do not get sports analysis made by racists...
...Good waiters get better tips. None of this is new, but it seems finally to have been accepted in large measure throughout the world. Twenty- six years ago, selling your jeans could land you in a Soviet prison. In May of this year, the Soviets put on a trade show in San Francisco to try to attract trading partners and investors like Levi Strauss...
...urban creature; the countryside frightens me," says Kyoto-born Noboru Tsubaki, whose Fresh Gasoline, 1989, a 9-ft.-high bulbous yellow pod, is the most startling work in the show. The creepy beauty and rich surface texture of Tsubaki's monstrous blob, with tentacle-like branches sprouting from its top, recall a fascination with the grotesque that characterized some Japanese avant-garde art of the 1950s and early '60s. Its inspiration: Japan's bombed-out landscape after World War II. Strains of this extreme aesthetic are still visible today in the ghoulish makeup and gestures of butoh dancers. Similarly, Shoko...