Word: exhibiter
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Despite the numerous compelling aspects of daguerreotypy, the Fogg exhibit also unconsciously reveals the art form’s limitations. Given the need for subject stillness, daguerreotypes obviously cannot capture action, and this realization is perhaps no more acutely realized in plates from the Harvard Theater Collection. In the 1860s, attempts were made to represent and immortalize college’s dramatic theater productions. It was certainly a worthwhile goal, but its execution ultimately falls short of any merit beyond strict documentation. The scenes portrayed ultimately feel forced and contrived; granted, photography is somewhat of an artifice itself...
...wonderfully anachronistic, daguerreotypy is an art of an earlier age. Founded by its namesake, Louis-Jacques-Mandé Daguerre, it was the Victorian-era precursor to photography, but has since largely been forgotten and its products mainly lost. In something of a resurrection, daguerreotypy is the subject of an exhibit, “A Curious and Ingenious Art: Reflections on Daguerreotypes at Harvard,” at the Fogg Art Museum...
Although the exhibit currently resides in an art museum, daguerreotypy is as indebted to science as it is founded on aesthetics. The technique required a delicate mix of noxious chemicals, absolute stillness on behalf of the subject and precise timing from the operator. Error yielded cloudy phantom shadows, but the hands of a master consistently produced images with clarity paralleling—and more frequently exceeding—that of modern single-reflex lens photography...
...exhibit, thematically organized under five headings—the Scientists, the Professionals, the Families, the Collectors and the Daguerreotypists themselves—encompasses every facet of the 20 years, 1850 to 1870, when daguerreotypy was popularly practiced. The world’s “first” daguerreotypes, Sandworth and Hawes 1846-47 “Operations Under Ether,” underscore daguerreotypy’s scientific foundation, used here to capture the first instance of anesthesia-assisted surgery. Stoic and stern of countenance and apparel, the surgeons contrast in sharp relief with the patient, who, exists...
When Pace approached the Picasso family about making an exhibit around the artist’s very last works, they were “appalled––the art was regarded as the babblings of an old man,” according to Glimcher. He believed strongly in their merit, however, and not only did every piece sell, but the exhibition changed critical opinion about Picasso’s last period. “It was great satisfaction to have brought the attention of the art world to something that I thought they had neglected...