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Word: weighted (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Usage:

...will demonstrate the verdict went against the weight of the evidence." Edelin declared, "that the photograph of the aborted fetus [introduced into evidence by the prosecution] was of no probative value, and that a person must be notified his act can be a crime before he is charged...

Author: By Daniel Raviv, | Title: Edelin Denounces Prosecutor For 'Gross Misuse of Office' | 4/9/1975 | See Source »

...Weight of Evidence...

Author: By Daniel Raviv, | Title: Edelin Denounces Prosecutor For 'Gross Misuse of Office' | 4/9/1975 | See Source »

...steel constructions, more air than metal; painted surfaces that repress one's sense of material; cool machine-made boxes, metal tiles or bricks laid flat on the floor, anodized glass cubes and characterless Formica skins. To the extent that sculpture can get away from its primordial conditions of weight, thickness, opacity and immobility, it did so in the '60s, and often with an annoyingly academic self-righteousness. Nevertheless, a few of the best sculptors of the time, like Mark di Suvero and Richard Serra, obdurately resisted this trend, and we now seem to have got back...

Author: /time Magazine | Title: Art: Working on the Rock Pile | 4/7/1975 | See Source »

...result must be among the most imposing "homemade" sculpture produced by a young American since the early '60s, when Di Suvero was making his big constructions of railway ties, dock piles, chains and tires. Instead of effacing their weight, Buchman's sculptures proclaim it: heaviness, the state of being dug from and bound to the earth, is part of their meaning. The stone is not carved. The lumps stand as they came from the rock pile, craggy and rhino-gray: one thinks of them as things, not as material, and each sculpture becomes a kind of frozen juggling...

Author: /time Magazine | Title: Art: Working on the Rock Pile | 4/7/1975 | See Source »

...busy, with all those nuts and bolts. But in works like Levi, 1975, the jacket of forged and cold-beaten metal encloses its granite haunch with an astonishing delicacy. Because they are structures and would wreak havoc if they slipped, one becomes aware of their properties as substance: the weight and crushing resistance of stone as against its brittleness in tension; the malleability and tensile strength of steel. Their articulateness goes beyond mere bulk. In the generally cooled-down, entropic context of most U.S. sculpture, this vitality is overwhelming...

Author: /time Magazine | Title: Art: Working on the Rock Pile | 4/7/1975 | See Source »

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