Word: skies
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Dates: during 1990-1999
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When the conversation does lock onto a subject, there can be fireworks. In the series' best segment, "Apocalypse," about the Flood, British author (and former nun) Karen Armstrong conducts a blistering twin attack. God, she maintains, is "not some nice, cozy daddy in the sky." He is "behaving in an evil way," effectively introducing mankind to the idea of justifiable genocide. Noah, meanwhile, is a "damaged survivor" who says no word about those drowning around him, much less tries to help them. Drinking his troubles away after reaching shore, he is enraged at being seen naked...
...Fossel, chairman of the $57 billion Oppenheimer Funds company, said just last week that he plans to parlay his prominence in the fund world into a stint as a TV talk-show host. Mutual-fund execs as celebrities is a clear sign of the market's sky-high profile...
...loggers. Wake before dawn to hear the high-pitched keer of marbled murrelets, the rare, threatened seabirds that nest only in the top of old-growth redwoods. Vast, dark shapes begin to form: the trunks of enormous redwoods and Douglas firs rising as if to hold up the sky. Greens nationwide had hoped for a pact that would have spared some 60,000 acres--all six ancient groves, and the partly logged land between--as habitat for spotted owls, peregrine falcons and coho salmon...
...view as little as possible. Grumbach devised an open-air suspension bridge with a greenhouse at one end and a 500-ft. residential glass tower with hanging gardens at the other. Other proposals included a zig-zag span with a ribbon-like tower that twists 800 ft. into the sky and an organic tube in fluorescent pink and green that drew immediate comparisons to an alien spaceship. Nigel Coates, the only architect among the seven for whom Prince Charles has ever shown enthusiasm, designed what from river level looks like two acorns moored to the chassis of a racing...
...later abstract works, the "Equivalents" (1929), provide a cushy counterpoint to such harder, clearly delineated concrete scenes. In a sense, Stieglitz taps into the age-old game of lying in the grass and picking out shapes in the sky, but with a deeper, vaguely solemn intent, as if to part the layers of nimbus and cumulus. His progression from works clearly grounded in the straightforward city to such abstraction in a sense reflects Stieglitz's attempts to broaden the "purpose" of photography...