Word: exhibited
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Dates: during 1960-1969
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...answers to such questions about historic personages, along with other more or less fascinating oddments of Americana, now await tourists and trivia enthusiasts at Washington's new National Portrait Gallery. For its opening exhibit, called "This New Man: A Discourse in Portraits," the gallery assembled 173 likenesses of figures from American history (see color pages). Though the gallery already owns some 500 pictures, it reached outside its own store and borrowed about three-quarters of the portraits now on show. Paintings, busts, daguerreotypes, cartoons, and even occasional photographs are arranged in rooms that were liberally draped with flags...
Cascade of Grease. In many ways, the patron saint of the exhibit is Soft Sculptor Claes Oldenburg, who last year got the City of New York to hire two gravediggers to dig a hole for him in Manhattan's Central Park, then fill it in, thereby burying a nonexistent "underground sculpture." His offering this time round: a Plexiglas cube stocked with night crawlers and humus, titled Worm Earth Piece. Minimal Sculptor Robert Morris, on the other hand, used the gallery as a site on which to build an earthwork out of 1,200 pounds of dirt and peat moss...
LIGHT is billed as the opening of M.I.T.'s permanent collection of photographs, but don't let that fool you. These aren't the "classic" photographs by the "great" photographers that you would expect in a university collection. The exhibit doesn't try to provide a history of the development of photography, either. It's one person's idea of good photographs, some by well-known photographers, but most by people you've never heard...
...institution to depart from the standards of general critical opinion in forming a collection is a risky business. The success of the exhibit depends on the artistic and photographic judgment of the organizer of the show. M.I.T. took the risk, trusting in the photographic vision of their resident photo-genius, Minor White...
While White's choice of photographs may not satisfy everyone, he has constructed a unified exhibit of pictures that is effective on two different levels. On a purely visual level each photograph is a pleasing two-dimensional arrangement of lines and shapes, of tones and patterns. But nearly every picture in every exhibit has this quality. Many exhibits then go on to comment on some phase of human life, or of man's environment, or of nature. In such exhibits the photographers present their individual statements, which the viewer can then either accept, deny, or ignore...