Word: vienna
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Dates: during 1990-1999
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...dilemma facing the Organization of Petroleum Exporting Countries (OPEC) as it meets today in Vienna is not whether to cut production, but how to ensure that the 11 member states and such non-member producers as Norway, Russia and Mexico stick to their agreed cutbacks totaling 1.5 million barrels. Analysts are skeptical over whether Russia, Venezuela, Nigeria and others will avoid the temptation to exceed their new production quotas, which would quickly unravel the agreement -- and even the oil cartel itself. After all, it?s not as if renegades face the prospect of having their legs broken or anything...
DIED. LEONIE RYSANEK, 71, show-stopping Austrian soprano whose soaring arias so entranced fans she once kept them standing--and clapping--throughout the entire intermission of a Wagner opera; of bone cancer; in Vienna...
...worked--and it came fearfully close--Nikita Khrushchev, the bellicose Premier of the Soviet Union, would in one mighty stroke have changed the power balance of the Cold War. Once again, a foreign dictator had seemingly misread the character of the U.S. and of a U.S. President. At Vienna and later, Khrushchev had sized up Kennedy as a weakling, given to strong talk and timorous action. The U.S. itself, he told Poet Robert Frost, was "too liberal to fight." Now, in the Caribbean, he intended to prove his point. And Berlin would surely come next...
...works by the Austrian Expressionist artist Egon Schiele (1890-1918). Portrait of Wally, 1912, and Dead City III, 1911, were part of a large fall show of Schiele's drawings and paintings at Manhattan's Museum of Modern Art, all on loan from the government-financed Leopold Foundation in Vienna. The two paintings have long been claimed by descendants of Viennese Jewish families from whom the Nazis stole them in the 1930s. Right at the end of the show--in fact only hours before the works were to be crated for return to Vienna--Manhattan district attorney Robert Morgenthau took...
...legal title to the pictures was clarified. "The museum," said Reif, "must make a moral determination on this." Exactly wrong: the museum's responsibility for moral issues stops with the works in its own collection. MOMA had a loan contract with the Leopold Foundation to return the works to Vienna as soon as the show closed. Such contracts are, of course, vital to the arrangement of institutional art loans. The free circulation of works of art among museums depends on them. "If we can't honor our contracts, it will have the iciest chilling effect on loans," MOMA's legal...