Word: vision
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Dates: during 1990-1999
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When Jobs' remarks are repeated to Jeff Braun, he says, "That's what it's about! It's a vision." Braun is the co-founder of Maxis, which makes computer-simulation games. The company went public last May, and now Braun's stake is valued at about $79 million. To commemorate deals, investment banks make Lucite cubes containing miniature versions of the "tombstone" ads that run in newspapers announcing an offering. Braun holds up his memento of the Maxis IPO and says, "I'm proud of this. This represents the maturing of the company. It says you're an adult...
...insists that current staffing levels are sufficient. "It is much more efficient today than it was several years ago," says Monte Belger of the FAA's Air Traffic Services. NATCA's Krasner counters, "If you have a vision of an air-traffic-control system that 15 or 20 years from now will have fewer controllers, it doesn't really matter if you make these people work longer hours and burn them out. From an economic standpoint, it makes sense. From a human standpoint, it's crazy...
...most lyrical--but also the most politically acerbic--of the Ashcan artists was Sloan. A fervent admirer of the social vision of French lithographers, especially Gavarni and Daumier, he kept his satire for the illustrations he did for The Masses and other left-wing magazines. His painted world was more amiable, with its fleshy, rosy girls in dance halls or promenading in Washington Square Park--a Brooklyn Fragonard whispering to a Hester Street Renoir. Sloan saw his people as part of a larger totality, the carnal and cozy body of the city itself, where even the searchlight...
...reputation as a radical had more to do with his lowlife subjects and journalistic speed than with any avant-gardeness in the work. His political ideas, like those of Sloan and Henri, were in some general way socialist-anarchist without being particularly militant. He leaned toward a pastoral, unthreatening vision of the disorganized poor, spiced with humor, as in his portraits of tough Irish street urchins or the famous Forty-Two Kids, 1909--not, alas, in this show--depicting a swarm of knobby pale boys horsing around and diving into the Hudson from a broken-down pier...
...Willem de Kooning would say of himself many years later, a slipping glimpser, with a strong sense of the fleeting moment in which people are caught unawares--arguments on the fire escape, a woman pegging out the wash, lovers furtively embracing on the tenement roof. And though his vision was less flamboyant than Henri's or Bellows', he clearly had a deep effect on younger painters like Reginald Marsh and Hopper. His moments of voyeuristic detachment were amplified in Hopper's glimpses of disconnected urban souls seen through windows. One wants to see more of Sloan; when will some American...