Word: exhibit
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Dates: during 1990-1999
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...Panorama, Harvard-Radcliffe Hillel's recent art exhibit, was aptly titled. The exhibit, featuring the work of more than 30 Harvard artists, including graduate students, brought together a diverse range of works of art, subject matter and media. Panorama included many conventional pieces such as black-and-white photography, oil and acrylic paintings, charcoal drawings and watercolors but also presented very unusual media as well. Some of these are senior Amanda Proctor's Native American beadwork, a wire sculpture by Rachel Friedman '01, plastic boxes filled with transparencies and water by Jen Wu '00 and felt pennants by graduate student...
...intruding on the man's personal agonies and demons. Despite all this, the painting itself was not dismal or depressing but extremely reflective, piquing the viewer's curiosity. Mixco's piece was further enhanced by the fact that it was sitting on an easel in a corner of the exhibit and therefore had a private space of its own. Because of the easel, the painting seemed still very much attached to the artist, adding to the closeness already felt between artist and viewer...
...Advocate's support of artists like /rupture and esp suggests that the organization is taking a more active role in providing space for and promoting local art. Teknotag, like the Advocate's GNR8R show last February and its recent photography exhibit, Sampler, in Adams House, offered a rare glimpse into the experimental artistic underground that is too often invisible at Harvard...
...this Wols? Six grimacing self-portraits, the first images one encounters in the Busch-Reisinger Museum's exhibit of his photographs, prevent an immediate response. The portraits, cropped like busts from the neck up, span the varieties of human response, from the mirthful to the apathetic to the terrifying but never the genuine. This shock at lack of sentimentality is re-experienced in the 57 photographs displayed. In his most successful prints, he subverts the circumstantial reality of his subject and creates a new context without annihilating its essence...
Until recently, Wols's photographs were seen as prefiguring his later work. Christine Mehring, who gracefully curates the exhibit, instead presents Wols's photography as an integral part of his oeuvre that must be considered independently. She divides his photographs into four discrete but contingent sections: portraits, abstractions, fashion photographs and still lives. As the works were taken during his ten-year residence in France between 1932 and 1942, they bear a strong stylistic affinity to each other. Yet the works display Wols's movement from germinal Bauhaus sterility and Surrealist tomfoolery to a style ultimately unique both from...