Word: butterick
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Dates: during 1990-1999
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Last year, Danny Rimer '93, Mathew Lee '92, and Matthew Butterick '92 were agitated by what they termed the trendy, upper-East-Side art propagated by Harvard's Triptych, (a group which had been in existence for three years) and conceived of Agitprop as a means of providing an alternative approach to cultural awareness. Simply put, Agitprop aims to mobilize interest in the arts at Harvard. Rimer explains that the most effective means to this end is to "coerce a response," and indeed, their events are designed to seize attention and elicit an emotional reaction...
...student talent. This year's highlights have included a number of undergraduate exhibits, including two shows in the Adams House squash courts, one in the lobby of the Carpenter Center, a travelling exhibit which passed through Eliot, Leverett, Adams and Hilles Library between February and May, and Matthew Butterick's graphic font exhibit at the Sackler. Stressing that the group is neither selective nor competitive, Agitprop welcomes all and more forms of student art (although they do admit a preference for less mainstream work...
...technology, gives type designers room to maneuver. According to the exhibit notes, producing a new typeface once took years or decades. But the advent of digital type--often conceived, drawn, and edited entirely on screen--shortens the production time to hours, days, or weeks. Former Adams House resident Matthew Butterick '92 even created commercial types while still a full-time student. The demand for a diversity of typefaces pushes typography toward eclecticism...
...untitled five-piece series by Matthew Butterick was inarguably the most successful of the photo works. All the pieces in the series shared the base image of a woman reproduced by a computer, but the details Butterick used to vary the image, rather than the image of the woman itself, became the subject of the works. Details such as the rhythmic boxes which produced the shading around the mouth and cheek of the second and fourth pieces of the series were noteworthy highlights of the wealth of innovations offered by the computer medium. The resulting series was compelling both...
...other photographic works were not as interesting as Butterick's. Richard Robbins' "Five Pieces from Paris Series 1990," for example, was dull and trite. All the images were slightly blurred, presumably to add a certain softness or ambiguity to the works. They did not. And the abrupt frames which lopped off heads and feet created a jarring view of the scene. These frames were unoriginally employed--ever since Toulouse-Lautrec, the arbitrary, non-classical frame has been employed to make audience members re-evaluate their perspective, but here that re-evaluation seemed pointless. To say the least, the frames have...