Word: brickly
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While all of the artists speak of integrating their work into the stations, the large part of this integration is a matter of avoiding the elements: vandalism, grafitti, normal wear and tear. Almost everything is armed for the onslaught. Materials such as stone, bronze and brick defy mutilation. Destructibles are out of reach. The message is clear: give the kids plastic, keep the china in the dining room...
...they are isolated from each other. It's a little hard to tell from models how things will look, but it's clear enough that each artist received a section to fill individually. Harvard ends up with stained glass, Hadzi's found objects, and (at Brattle) a twenty-foot brick pylon. Porter Square gets the gloves, the boulders, a mobile, and a huge granite ripple. Art remains object, isolated appendages tacked onto architecture...
...symposium began with an immediate analysis of the consequences of a 20-megaton nuclear assault upon Boston. The speakers detonated one devastating statistic after another: 2.2 million immediate fatalities, 80 percent of medical facilities in the Boston area totally destroyed, all frame and brick buildings within six miles levelled (so much for Widener), 17,000 injured persons for every healthy doctor. And, of course, undetermined genetic effects to haunt future generations...
Occasionally, the candidato turned awkward. After mounting a native paso fino horse in Caguas and finding himself atop an unfamiliar English saddle, Connally experienced a few nervous moments when the mare bounded down a rain-slicked brick street. In Coamo, he told a questioner that if Puerto Rico becomes a state, "you will first be an American, and second you will be a Puerto Rican." Anti-statehooders seized on the statement as proof that the island's cultural identity would disappear, but Connally later recovered, sort of. "You'll hardly know you have it [statehood]," he told...
...spirit of Russian constructivism-spare, idealizing, but wedded to primary forms and to the nature of industrial material-presides over Milow's work, lending it a subtle dignity. Tim Head's photo projections are studies in uncertainty. Images of ordinary things-a ladder, a bucket, a brick wall -are projected over arrangements of real objects, and the result is a brilliant melee of impressions, in which image and reality can hardly be told apart...