Word: exhibited
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Dates: during 1970-1979
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...floor, roofed only by filtered skylights, is the center's permanent exhibit, featuring the gems of MelIon's collection. It begins with two commanding portraits: Charles Stanhope, 3rd Earl of Harrington, by Sir Joshua Reynolds, and Sir Anthony Van Dyke's Mountjoy Blount, Earl of Newport. Indeed, the entire exhibit is heavily weighted with portraiture and landscapes. In one corner, the viewer can stare at the grayed elegance of a Gainsborough; in another, he is lulled by the peaceful countryside of a Constable. There is also a fine sampling of George Stubbs, including two huge works-both...
...exhibit shows how sculpture created from very simple materials can portray complex ideas, he said, adding that the large sculpture cost only...
...those in Fine Arts 171 and anyone else who is attracted to "spots and dots" (as the 171'ers affectionately refer to modern art.) Graphics I at 168 Newbury has an exhibit of Josef Albers who is almost sure to pop up on the 171 syllabus soon. Albers is well known for his squares within squares and his subtle tonal differentiation from square to square. The show includes these works called "Homage to the Square", but it features more prominently his "Mitered Squares" done in the last two years of his life. Again using subtle coloring and precise geometric figures...
When he went to see the King Tut exhibit fortnight ago, Carter did not even wear a tie. His retinue of white-shirted ambassadors, National Gallery factotums and Secret Service agents looked faintly uneasy. Jimmy was like the tourists, who gave up neckties a long time...
...photographing his native Berkeley, finally inventing a camera to take the pictures he envisioned. The instrument's ability to capture incredibly fine detail and texture has made it a necessary tool of the avant-garde cameraman, and its mastery a challenge he must meet. (All the pictures in this exhibit, except Rubinfien's, were taken with it.) Leaving, as Lifson says, "no place to hide," the superclarity of the camera's vision lends these pictures an uncanny surrealism. The trees in Wing's pictures, or Germano's, have leaves that are leafier than any your eyes perceive. To see like...