Word: exhibited
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Dates: during 1960-1969
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This is, of course, to some extent true. But it cannot explain the uncanny ability of a photographer like Henri Cartier-Bresson to capture so many critical moments. In this exhibit, the best example of precision timing is Robert Doisneau's "Le Tableaudans la Vitrine...
Diane Arbus is representative of this modern trend. She has photographed new subjects (transvestites, homosexuals and fat nudists), and in this exhibit has a picture. "Identical Twins" that is quite modern in several aspects. It is a print made from only half of a 35-mm negative that has been enlarged and cropped so that it is surrounded on three sides by thick black lines (the unexposed edges of the film). This produces what is called by scientists the "orientation response," and by artists, a pun on the ambiguous relationship between art (the process of creation) and reality. Remember Blow...
...would be a great shame to miss this exhibit at the Fogg Art Museum, for it is one of the best exhibits of it kind ever assembled. Indeed, one of the most important functions of art is to give insights into nature, particularly human nature; and inasmuch as a large part of that nature is irrational, photography can convey feelings that words, bound by rational structure, cannot. You have to see these pictures to feel them...
...exhibit includes small models of sets, assembled under the direction of Chatsworth's keeper, Thomas S. Wragg, but the drawings more nearly illustrate why a contemporary observed that Jones, "in designing with his pen, was not to be equalled by whatsoever great masters in his time for boldness, softness, sweetness and sureness of touch." The son of a Smithfield clothworker, Inigo Jones was trained as a painter, studied in Italy, and was largely responsible for putting England back into the mainstream of Renaissance cul ture, from which it had been isolated by the Reformation. Appointed the Crown...
Many of the artists in this show are killers -- all but two of the prisons represented are maximum security institutions -- and what is most startling about this exhibit is the number of evenly-wrought, painfully conventional paintings which these men produced. The prison doesn't provide models or try, through instruction, to direct the content of these paintings; the prisoners are left to their own imaginations, and one somehow expects the social outlaw, the man who just couldn't keep down the urge to throw a brick through a window, to be a little less-contained in front...