Word: cataloger
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Dates: during 1980-1989
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When customers across the country received their new Bloomingdale's catalog earlier this month, they were treated to more than fall fashions. Among the Kamalis and Calvins were full-page ads for cigarettes, liquor and laundry products, none of which can be ordered by mail or bought in one of Bloomingdale's 14 locations. Other department stores like Marshall Field are considering the advantages. Says Milton Kaplan, president of Catalogue Advertising Sales, which sells Bloomingdale's space to clients: "It's the next large medium on the horizon...
Bloomingdale's says it added the ads to make its catalogs more distinctive than the 8.5 billion others mailed last year. The carefully calculated result resembles a chic fashion magazine as much as a catalog; it is a hybrid that might be called a magalog. But, after studying the finances, John Chunko, vice president of Catalogue Media Corp., concludes, "By accepting ads, large catalogers are realizing that they can make $5 million in profit over five years and not hurt themselves...
...exhibition, in fact, seems to have been designed to show the many unconventional ways photographers have modified their craft to make unusual imagery. In the show's catalog, ICA curator David Joselit writes: "Ours is a culture where virtually everything has been 'heard about.'" Joselit and the other curators have tried to assemble photographs that the public has not seen, that shock us through their creative and imaginative use of technology, as well as their unfamiliar subjects...
...other side of the glass wall. (Maybe this is why Bacon insists on putting even his biggest canvases behind glass: it makes the separation literal, though sometimes too literal. The glass becomes an element, even a kind of collage.) As Art Historian Dawn Ades acutely notes in her catalog essay to the Tate show, there is a lot in common between Bacon's vision of human affairs and the neurasthenic, broken allusiveness of early Eliot -- a cinematic, quick-cutting mixture of "nostalgia for classical mythology, the abruptness of modern manners, the threat of the unseen and the eruption of casual...
...exhibition disappoints on any score, it is only by coming to a halt in the mid-1950s, although Kertesz did not. The weighty catalog, written by Co- Curators David Travis and Weston J. Naef with Sandra S. Phillips, provides an admirable overview of the three decades in which Kertesz did most of his best work. But his later pictures are often no less finely conceived, especially those he made after retiring from House and Garden in 1962. Shows like this act as a catalyst, however. In New York City, for instance, the Susan Harder Gallery is showing his pictures...