Word: artes
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Dates: during 1990-1999
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...Brewer joined a local prison chapter of a gang called the Confederate Knights of America, a small North Carolina-based Klan faction that recruited heavily from biker groups and prison inmates in the early 1990s. He began getting tattoos that would cover 65% of his body. His body art was a litany of racist images, including Nazi SS lightning bolts, Klan emblems and a black man lynched from a tree. One witness, psychiatrist Dr. Edward Gripon, suggested the tattoos may have been a way to make the 5-ft. 7-in., 165-lb. King look forbidding to threatening black inmates...
...lecturer speaking in the Tapestry Room at the Gardner Museum has Isabella Gardner to thank for endowing the place with a magical feeling that tickles audience's souls and subdues their critical faculties. Had Terence Riley, chief curator of the Department of Architecture and Design at Museum of Modern Art in New York, stood at the podium and screamed out math equations-in German-he probably still would have been a crowd pleaser...
Beginning the lecture by declaring himself a Derridean "amateur" at art history, Riley used the collection as tool in order to elucidate some interesting issues in theories of architecture. Although at times his analyses of the works seemed a little farfetched. he did present some intriguing questions about the role of architecture in art...
Although Riley insisted that the museum worked as architectural and decorative whole, he never attempted to explain how. However, he did characterize the integration of art and architecture by astutely explaining that the "architecture is binding" and that it "leaks in and out of the art." In his discussion of the architecture a s subject in art, he suggested that architecture adds weightness or gravitas to a science and demonstrated this by claiming that furniture and architectural fragments in Botticell's "Mother and Child Jesus" made the scene less domestic and more dignified. Perhaps more convincing was his point that...
Throughout Riley's guided tour of the museum, be often paused for commentary on the acquisitive Gardner herself, accommodating her into his dualist scheme. He stressed that she was both a romantic wanderer who longed for emotional connection with art, as well as a scientific archeologist, who strove to understand art. He emphasized that her collection in intended to educate but is simultaneously an expression of her own artistic senses. Although it might appear to exist in pleasing disarray, it was actually thoughtfully and wittily designed...