Word: cooperating
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Dates: during 1980-1989
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This aspect of Wright's work is exemplified in "Frank Lloyd Wright and the Prairie School," a show of more than 250 furnishings, drawings, photographs and documents that opened last week at New York City's Cooper-Hewitt Museum, the Smithsonian Institution's national museum of design. The exhibition, which will run until Dec. 31, is an almost intimately informal survey of Wright's brilliant beginnings, from his tracing of a Louis Sullivan ornament in 1892 to his drawings for the Dorothy Martin Foster House in Buffalo in 1923, which marked a new direction...
...technology. "This thing we call the Machine," he said in 1901, "is no more or less than the principle of organic growth working irresistibly the Will of Life through the medium of Man." But machine products, he believed, must be designed by artists. The objects on view at the Cooper-Hewitt remind us of what could be achieved with such a shaping vision...
...relaxed setting of a camp helps soothe the anxieties that overwhelm many adults when confronted with a computer. Susan Cooper, co-owner of a New York City messenger service, went to the Amherst institute to catch up with her 14-year-old son John. Back home now in Ridgewood, N.J., she can look with new insight at print-outs of the programs he has written. "Finally, I understand what I was missing," she says. "He had grasped something that had eluded me for years...
These physical and social achievements have long been obvious: any mother can see them in her own children. What the new research demonstrates is that babies' mental growth can be as early and as striking as the rest of its development. Robert Cooper, a psychologist with Southwest Texas State University, is even testing a group of ten- to twelve-month-old children on their ability to recognize different numbers. They can master up to four, but he adds that "beyond four, there's some controversy." By showing his little subjects various groups of objects, Cooper demonstrates that they...
...Paula Cooper gallery in SoHo, Alan Shields' exhibition is at a far remove from this exhibit. It consists of works in, and on, handmade paper, done in his Shelter Island, N.Y., studio over the winter of 1982-83: a small affair, only seven pieces, but certainly the most delectable show to be seen in downtown Manhattan this summer. Shields has been showing on the international circuit for years, and his arrays of irregular patches and ribbons of stained canvas, sewn together with an offhand and improvisatory air, misled some critics into thinking of him as a kind of craftsy...