Word: exhibited
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Dates: during 1960-1969
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THERE IS a double homecoming at the Fogg. The Grenville L. Winthrop Retrospective is an exhibit of the Fogg's greatest bequest, given by Grenville Winthrop in 1943. The show evokes the collection's first home in Mr. Winthrop's East 81st Street apartment, and simultaneously establishes how much at home it is in the Fogg Museum on Quincy Street. I have never seen such a combination of warmth and excellence in a show here -- professional in its catalogue, hanging, and choosing of objects and so intimate at the same time...
More recently, civic tempers flared over the catalogue for the Metropolitan Museum of Art's new photographic exhibit called "Harlem on My Mind" (TIME, Jan. 24). The introduction, written by a 16-year-old Negro schoolgirl, reads in part: "Behind every hurdle that the Afro-American has yet to jump stands the Jew who has already cleared it, Jewish shopkeepers are the only remaining 'survivors' in the expanding black ghettos. The lack of competition allows the already exploited black to be further exploited by Jews." Mayor Lindsay quickly denounced the catalogue as another example of racism, and the embarrassed museum...
...exhibit was also picketed by Negroes who charged that it depicted only "the white man's distorted, irrelevant and insulting" view of Harlem...
...Kinds of Women. The engravings, as usual fully subscribed in advance in editions of 50 each, have been assembled into an exhibit titled simply "347 Gravures" and mounted simultaneously in Paris and Chicago; the show is just finishing a six-week run at the Galerie Louise Leiris, but by popular demand The Art Institute of Chicago has extended it for another month. The engravings represent what may well be the most exhaustive study of genitals, mainly female, ever seen in legitimate art galleries. Says his longtime dealer and friend, Daniel-Henry Kahn-weiler: "His work has always been profoundly autobiographical...
...Institute, even though it withheld 25 prints as "unfit for public exhibition," has received phone calls complaining, in effect, that Picasso is a dirty old man and demanding that the exhibit be removed. But what matters about "347 Gravures" is that the old master proves he can still invest a female nude with classic grace by means of a single magical line. He doesn't do it every time-but then he never...