Word: exhibiter
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...Chicago, where she had since moved and joined a celebrity-hunting club. Having donned the name Alix Jeffry when she opened the studio, she moved next to New York in 1952 and began documenting the theater. Though some of her early work made it into this show, the exhibit is dominated by images from the late sixties and early seventies. Jeffry lived in New York throughout this time, until 1988 when she moved to Albuquerque, N.M. with her partner, Mary Alice Morris, who donated the photographs featured in this exhibition to Harvard after Jeffry’s death...
...portraits are all agreeable to look upon. Cash, with his guitar jutting out of the page, is an interesting contrast to the placid Belafonte. But it is a juxtaposition that you will have to come to yourself—there is not a discernible pattern to the exhibit. The show’s lack of an overall theme reaches a low point with the four self-portraits of Jeffry one happens upon in the midst of things...
...identity has been liberated and informed by America's growing multicultural fabric. After majoring in art history and African-American studies at Smith College, Golden spent nearly a decade as an associate curator at the Whitney Museum, where she first made a name for herself with the provocative 1994 exhibit "Black Male: Representations of Masculinity in Contemporary Art," which attempted to subvert old stereotypes about black men and black sexuality by placing them in a fresh context...
...chooses to focus on the vestiges of conflict--the remnants of troop movements, of battles, of actions taken and not being taken. She is particular fond, for example, of images of rusty cans and shells in the middle of a huge desert . (One is reminded often, in perusing the exhibit, of P.B. Shelley's timeless words from Ozymandias: "Nothing beside remains. Round the decay/Of that colossal wreck, boundless and bare/The lone and level sands stretch far away.") Human suffering and become morally neutral in these photographs, as Ristelheuber deflates the concepts of good and evil, moving beyond them towards what...
...concept of the inevitability of human conflict and violence seems to be a particularly insensitive message at a time like this. It is almost offensive to assert--whether explicitly or implicitly--that attacks that kill innocent civilians by the thousands are simply part of an immutable historical continuum. The exhibit is not upsetting for what it shows, but for the inappropriate message it offers. Even if Ristelhueber is able to chronicle one disaster after another with artistic detachment, she (and the MFA) should take into account the need at this time for emotional response and moral valuation...