Word: skin
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Dates: during 1970-1979
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...homely panel truck and, with Pygmalion's zest if not his graces, have transmogrified it into something utterly new and distinct: a mobile monument to self. It is self-contained and self-containing, and its womby little room is packed with the motherly comforts of home, while its skin screams advertisements of the inhabitant's wistful dreams...
...deflated vehicles on the dewy ground. My hosts are Douglas Economy, 16, one of the youngest pilots licensed by the FAA, his father, and their instructor, Bill Lewis. They aim a battery-powered fan into the limp mouth of their balloon, Fat Albert, breathing life into the sagging nylon skin. Then Lewis ignites the propane burner. With a roar, hot air fills the billowing mushroom, which swells with dignity to its magnificent seven-story height...
...seal, which can remain submerged without breathing for periods of 20 minutes or more. And, confirms Nemiroff, the same automatic response works in humans as well. Triggered by held breath and cold water on the face, the diving reflex slows the heartbeat and the flow of blood to the skin, muscles and other tissues that are relatively resistant to damage from oxygen deprivation. At the same time, it sends the body's remaining oxygenated blood to the heart and to the brain, whose cells will indeed begin to die after about four minutes without oxygen. Bradycardia -the slowing down...
...quotation from Michelangelo-the kind of thing artists had been doing for 70 years. But Rubens did it in an entirely new way. Michelangelo had invented a tragic structure for the human body; Rubens invented a tragic surface. Nothing in earlier European art prepares one for that white, drained skin with its subtle undercasts of color. Rubens quoted anyone he wanted to, without the slightest embarrassment, in a spirit of reasoned homage: the great Entombment of Christ, 1613-15, for instance, is taken almost directly from Caravaggio. The modern cult of originality would have meant nothing to Rubens; he would...
...lesson of Venetian art: with every object, from a wineglass to a woman's belly, brought to its fullest luster as substance, "luxury" meant completeness of being. There is something quite transcendental about Rubens' incessant delight in the material world. Every dimple or blush on the skin of Helene Fourment, the child wife of his old age (she was 16, he 53, when they were married in 1630), is both the record of desire and a proclamation of God's generosity. Rubens' world was tumescent; even the eyes in his portraits, large, white, engorged with visual...