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Using the raw sexual energy of O'Keefe's work as a literal backdrop and metaphorical paragon, Reproducing Georgia, which opened last week, explores art and passion in two and a half hours of witty, lighting-fast, repartee...

Author: By Sarah C. Dry, | Title: Flawless Acting, Careful Direction Give Passion and Sensitivity to Georgia | 3/12/1992 | See Source »

...that featured blissful mothers and frazzled career women intended, either consciously or subconsciously, to sow doubts in women's minds about their real goals? Or, as her critics counter, did the mass media merely pick up on concerns that already existed and touch a nerve that had been rubbed raw by a generation of out-of-touch feminist leaders...

Author: /time Magazine | Title: The War Against Feminism | 3/9/1992 | See Source »

...Roseanne and Madonna in one subclause of a sentence, which deprives readers of what would surely have been a lively discussion of two of the decade's most influential symbols. Writers such as Barbara Ehrenreich have praised Roseanne for helping root feminism in the family and give it a raw eloquence. "Roseanne gave working-class feminism a face," says Ehrenreich. "The typical image of a feminist in the media has been the Murphy Brown type -- the very successful, very slender, very perfectly organized professional woman. And we didn't have a media image of another kind of feminist who, obviously...

Author: /time Magazine | Title: The War Against Feminism | 3/9/1992 | See Source »

...that is metaphysics of a sentimental kind. The bullets remain in the bodies, and the dead stay dead. James Sinkler was trying to impress that raw fact upon his younger brother Tyrone, who was 16 years old. "I told him last week. I told him the week before," James Sinkler says. "Life is not like the movies. When you die, you don't come back. Life is so precious...

Author: /time Magazine | Title: Crime Childhood's End | 3/9/1992 | See Source »

...exact American-grain quality -- if not the episodic fussiness -- of that earlier virtuoso of the dovetail and the lamination, the sculptor H.C. Westermann. It also has some of Westermann's laconic humor. Sanctuary, 1982, is one such piece: a cubical box of thick wood mounted on two raw branches with the bark still on them, which turn out to be "legs," pedaling a wooden wheel -- a sort of absurd unicycle, designed for flight...

Author: /time Magazine | Title: Art: Delight in A Shaping Hand | 3/2/1992 | See Source »

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