Word: whitneys
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Winnick's matches exemplify the results of the hectic scheduling. She beat Trinity's Erica Lacerda, 3-0, and then lost to Yale's Whitney Stewart, who in turn lost to Lacerda...
Three Elis scored in double figures when Yale Knocked off the Crimson, 64-48, earlier in the year at Payne Whitney Gym. Sue Johnson--who averaged 18.3 points and 7.3 rebounds per game in earning All-Ivy honors last season--was high scorer (14 points) and high rebounder (nine) while teammates Karen Yarasavage and Randi Meberg each helped out with 11 points and two rebounds in the November encounter...
Some of the shapes, materials and images that resulted are currently on display in an exhibition at New York City's Whitney Museum, "High Styles: Twentieth-Century American Design." The show, which includes 300 pieces of furniture, craftworks, tableware and household appliances, was assembled by six different curators and seems more the rough outline of a museum exhibit than a finished show. Indeed, in a gallery that is like the vast attic of some anonymous and impossibly trendy old American family--interesting, to be sure, but incoherent--the recurrent evocation of the future is one of the few themes reaffirmed...
...futurist sensibility took hold, mainstream designers showed some transitional ambivalence: a goofy "electric candle" (1929) on view at the Whitney is unsure if it is supposed to look like a rocket or an actual candle or a tiny fluted Doric column. But the black-paneled Atwater Kent radio from the same period has a machine-age spareness that is, like Fred Astaire, both suave and ingenuous. It is an American synthesis that product design has only lately been recapturing, as in Apple's nubile Macintosh computer...
...future as it was conceived in a more hopeful past. It is a neat trick. This strain of the new-wave sensibility is an ironic mixture of nostalgia and contempt, simultaneously mock futurist and mock historicist. The allusions are to old television and B movies. At the Whitney, Dakota Jackson's UFO-shaped Saturn stool (1976) and R.M. Fischer's enormous, intimidating Max lamp (1983) are like fakey props from 1950s science-fiction films. Burton's saw-toothed aluminum chair (1980-81) seems to be a throne awaiting a space-age dictator, Dune-style. Bruce Tomb's wood-and-granite...