Word: exhibited
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Dates: during 1960-1969
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...footnote to your story on luminal art [April 28]: In November 1963, the Corcoran Gallery presented a show called "Design in Light" that may have been the earliest exhibit of luminal art. The artist was a Washingtonian, William Bechhoefer, who developed his technique in the Visual Art Center at Harvard. His technique was described as follows...
...Modern knew about Lowry, a strapping (6 ft. 3 in.) father of two teenage daughters, long before then. MOMA Curator William Seitz (now at Brandeis) had been impressed by a contemporary-art exhibit, "The Object Makers," that Lowry staged while chairman of the art department at Pomona College from 1959 to 1963. Lowry is frank about what he considers the Modern's primary problem today: "It has suffered from being too successful...
Built from Blueprints. Curator Tuchman, who took two years to assemble his show and visited 300 studios across the country, believes that the key trend emerging from the diversity of his exhibit is the artist's increasing rapport with and involvement in advanced technology. Larry Bell's clear, untitled glass boxes, for example, gleam like mother-of-pearl, thanks to optical coating methods developed by industry technicians. Many other works were assembled by technicians from artists' instructions or, like the Samaras Corridor, built by museum craftsmen working from the artists' blueprints...
...amount of film footage on show at Expo is staggering. Nearly every exhibit has incorporated some kind of a motion-picture presentation to supplement its static sights, and it has been estimated that a cinema addict could spend every minute of Expo's 183 days at a screen and still not see every frame available. One of the most sensational flicks: the mad, mad show at the Labyrinth, a five-story pavilion built by the National Film Board of Canada. The feature is prosaically called "The Story of Man," but during the 45-minute film the viewers move from...
...Architectural League, Levine had what he called a "Slipcover" exhibit. Three entire rooms-floors, ceilings and walls-were hung in a thick, shimmering silver fabric that reflected the people looking at it, and was used as a screen for projected slides, including, by way of a signature, pictures of Levine himself. In addition, two of the rooms had huge bags of the same material, which were regularly puffed up and then deflated by wind machines. To some, they looked like pillows for the Jolly Green Giant, to others, like an overwrought udder. Levine explains that he goes in for environmental...