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...frustration for the viewer comes when scenes open in the middle of conversations that are never fully explained. Then they close without resolving the issues raised in the scene. There's an urge to suddenly jump out of one's seat and yell, "What is going on? I don't understand what you're talking about!" Mamet also seems to expect prior knowledge and intelligence from his audience. The first act involves the history of the Jews that I would not have understood unless I had luckily taken Foreign Cultures 56: "Jewish Life in Eastern Europe Before 1914" this semester...

Author: By Judy P. Tsai, | Title: Grasping the Past, Facing the Future | 4/24/1997 | See Source »

...extremely large scale of Lichtenstein's paintings furthers this effect. Their expansive area inscribes the viewer in a spatial relationship that mirrors the tiny scale of the figures in the Chinese paintings' infinite landscapes. Just as the miniature men are almost lost within the Song paintings, we are literally dwarfed by the immense scale of Lichtenstein's work and can never really hold the entire image in our visual field. Only by backing up as far as the gallery allows can we get a good look at the whole composition, but Lichtenstein jokes that we can never really possess nature...

Author: By Scott Rothkopf, | Title: Seeing The Big Picture | 4/24/1997 | See Source »

...tiled courtyard of the entrance to the MFA's featured spring exhibition, "Tales from the Land of Dragons: 1000 Years of Chinese Painting," the viewer confronts two magisterial images. On the left is an unusual dark brown stone, known as a scholar's rock, valued in Chinese artistic tradition for its elegant natural form and its power to render the viewer's glance into a contemplative, even mystical gaze. On the right stands a wide stone relief of the serene Buddha with his attendant Bodhisattvas: enlightened beings destined to help the Buddha's followers reach Nirvana, on either side...

Author: By Paul A. Galvez, | Title: Two Rocks, Nine Dragons and 1000 Years of Chinese Painting | 4/24/1997 | See Source »

...inventive use of video, Tony Oursler's sculptures simultaneously fascinate and disturb. For the Biennial, he presents his most restrained and sophisticated work yet, three-dimensional glass ovals resting on metal poles or the floor, on to which he projects video images of talking heads. They stare at the viewer and blankly recite children's variations of songs commonly heard in school yards: "Joy to the world, the teacher's dead; we barbecued her head." Yet monotone delivery and eerie visual presentation transform these rhymes into disturbing alien utterances. We watch both mesmerized and repulsed, while the sculptures dare...

Author: By Scott Rothkopf, | Title: The Greatest Show on Earth | 4/17/1997 | See Source »

...certain kind of discerning television viewer it remains a pop-culture mystery why millions more Americans this season tuned to CBS's lead-armed Walker, Texas Ranger on Saturday nights than to ABC's nuanced romantic drama Relativity. To many TV producers this is not a vexing question, however. Nothing is more dramatic than the conflict between life and death, they will tell you (even if the conflict involves Chuck Norris). Slice-of-life series almost never win the ratings that crime shows pull in, which is why eight of the nine new network dramas premiering this spring feature people...

Author: /time Magazine | Title: TELEVISION: MYSTERY SHOT | 4/14/1997 | See Source »

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