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...line snaked halfway around the block last weekend at the Whitney Museum of American Art in New York City. Hundreds of people leaned against utility poles and sat on stoops, waiting 45 minutes to reach the museum door...

Author: By Sarah J. Schaffer, | Title: Hopper's Wistful Legacy | 10/20/1995 | See Source »

Varied as they were, these people had at least one thing in common: they had come to see the exhibit "Edward Hopper and the American Imagination" during its last weekend on display at the Whitney. And they were willing to wait...

Author: By Sarah J. Schaffer, | Title: Hopper's Wistful Legacy | 10/20/1995 | See Source »

...mood of this adaptation of Whitney Otto's novel by writer Jane Anderson and director Jocelyn Moorhouse is sweetly subversive. It usefully insists that beneath the placid surface of middle-class life strong currents rush and eddy, carrying everyone in directions utterly unpredictable when they are young and sure of themselves. And if it doesn't provide fully developed roles for them, it does evenhandedly offer a lot of underutilized actresses (among them Jean Simmons, Lois Smith and Kate Nelligan and the poet Maya Angelou) a moment or two to remind us how good they...

Author: /time Magazine | Title: CINEMA: LEFTOVER LIVES | 10/9/1995 | See Source »

Washington's varied roles will keep coming: soon he will co-star with Whitney Houston in a remake of the 1947 Cary Grant comedy The Bishop's Wife. "I bring myself to any part," he says. "And I'll bring my experiences and voice my opinions." Those opinions are often present beneath the surface; in his performances, there is a smoldering Afrocentricity that gives his work depth, connecting it to a cultural reality larger than the movies in which he appears. In one scene in The Pelican Brief, he kicks at a cab that has passed him by. In Devil...

Author: /time Magazine | Title: CINEMA: DENZEL WASHINGTON : PRIDE OF PLACE | 10/2/1995 | See Source »

...show's major innovation, however, isn't its format or guest list, but a moody visual style that gives a viewer the feeling of walking into a bewildering installation at the Whitney Museum's Biennial. Created and directed by the photographer Luca Babini (Hutton's boyfriend), the talk show looks like no other. It is filmed, not taped, and the camera sways back and forth, not only between Hutton and her guest, seated across from each other at a table dressed with a fruit bowl, but also to TV-screen images of them looking alternately fascinated and confused...

Author: /time Magazine | Title: TELEVISION: JOINING THE BOYS' CLUB | 10/2/1995 | See Source »

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