Word: viewers
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Dates: during 1990-1999
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Walker's exhibit unabashedly disturbs the viewer with representation of the images and history underlying racism in America. Like the chromatic form of the piece--black paper on white walls--the exhibit deals with race only in black and white. This form alone, in its insistence on turning negative space into positive space, implies the underlying concept of dialectical racial identities. Walker establishes a visual language that bluntly indicates the race of each silhouetted figure. White figures are marked by a few pointed wisps of hair, a straight nose, and thin lips. Silhouettes of black figures are cut with rounded...
...attempt to establish a safe-haven through European clothing and custom. Yet, the woman's skirt or stole is lined with ferrets, and a head of one remains alive, as its silhouette, too, is shown in profile, turning around to observe her. The scene establishes a dramatic irony; the viewer is aware that this black couple has failed to escape the racist terms of the exhibit, but the two black silhouettes dance on, unknowingly...
...punch of Walker's exhibit is that it refuses to render the challenge of race into a simply rhetorical question. As cynical as the show is, it demands a solution from its audience. Like psycho-analysis, Walker's work reminds the viewer of things that she does not like to know that she knows. It confronts the audience with the grotesque, debasing racial stereotypes that are embedded in our collective psyche, with the hope that bringing them to consciousness will be the first step to their eradication...
...straightforward way. Similarly sexual, scatological, or racially-charged, their work seems less threatening (and to my mind less satisfying), because it's far more unambiguous and transparent than Walker's graphic obliquity and elliptical narratives. Walker remarks, "There's lot of information that's not revealed for you. The viewer probably knows most of the story, maybe even more than...
...networks paid $17.6 billion for the right to broadcast National Football League games until 2005, even though viewer ratings have fallen 33% since the 1980s [BUSINESS, Jan. 26]. I don't understand the logic behind that staggering price, but I do know why fewer people are watching the NFL. The networks use, and sometimes even call, time-outs to insert commercials at every conceivable chance. They disrupt the flow of the game by presenting more advertising than action. The new agreement may last until 2005, but by then, will anyone be watching? R. CONRAD STEIN Chicago...