Word: objecting
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...large wooden desk, G. (for George) Ray Arnett proudly points to the hunting trophies that adorn his Washington office. They include a bobcat skin, the head of a white-tailed deer and a stuffed pheasant. Pausing at a side table, he picks up a two-foot-long bonelike object. "That?" says Arnett, with barely concealed delight. "That's an usuk, the private part of a male walrus. Eskimos use it in their ceremonies as a fertility symbol." Ambling back to his chair, he chuckles: "Some animals are luckier than humans...
...artists in our century have won worldwide fame by creating works whose best-known image is the child as sex object. One was the writer Vladimir Nabokov; the other is the painter Balthus. He is the antimodernist's modernist. His retrospective at the Pompidou Center in Paris this past winter drew large crowds, and in a March auction in London, one of his paintings went for more than $1 million...
...banal Paris street, the Rue Bourbon-le-Chateau. Yet the scene is far from ordinary. The orthogonals and links between objects give it a tense, mathematical substructure with all manner of arcane rhymes: the triad, for instance, of the red ball on the ground, the globe over the door and the pompon on the boy's cap. The cast of characters is mixed. The man in white might be a baker, or perhaps Christ carrying the lignum crucis; the two boys are Tweedledum and Tweedledee, the twins from Lewis Carroll's Through the Looking Glass...
...within the city's most anonymous dwellers. But these virtues are nearly undone by relentless mannerisms. Whenever Everett reaches an impasse, he conveniently has a dream, recollected in detail that Freud would admire. Attempts at plain speaking frequently result in a piling on of cliches: Everett knows an object "like the back of his hand"; women have "impenetrable" eyes. Exclamation points detonate with the flatness of dropped light bulbs: "How warm the air was!"; "How his father talked...
...various arts council grants, young film makers have scoured archives and garages for old footage and tracked down veterans of quixotic campaigns. Their subjects range from radical idealists to a literary anarchist to the dream of commerce at the 1939 New York World's Fair. But their object is always the same: to train a sympathetic camera on those Americans who marched toward their own versions of Utopia...