Word: exhibiting
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Dates: during 1930-1939
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...Mayflower Hotel where the birth controllers last week conducted an American Conference on Birth Control & National Recovery. was on exhibit a room full of 100 brands of contraceptives, shipped illegally from Manhattan...
...general estimate of Superintendent-designate Campbell as a person able man of considerable vigor and administrative competence, New Yorkers wondered whether he would prove more progressive than retiring Superintendent O'Shea, whose regime has by no means satisfied educational idealists. In 1928 he protested a birth-control exhibit at a city Parents' Exposition. Year after that he closed a high-school auditorium to a talk on free speech. In 1930 Dr. Campbell banned a history textbook which challenged the sanctity of U. S. institutions. Last week Dr. Campbell defended his history-teaching concepts, elaborated his educational philosophy thus...
...City looked over their congregations to find many of their most prominent parishioners absent. That same morning there was a dress rehearsal of Richard Strauss's Salome at the Metropolitan Opera House. To it had gone many a rich and respectable churchgoer to see how Olive Fremstad would exhibit her fanatical lust for the body of St. John the Baptist. The churchgoers were offended enough by the screaming dissonances and the way Fremstad brought the horrid head up to the footlights, caressed the matted black hair, kissed the cold lips. But no one was so outraged as Dr. William...
Miro. At one of the Museum of Modern Art's first exhibitions three years ago people stopped in front of a small black canvas entitled "Dog Barking at the Moon." On the right, in strange iridescent colors, was something that might be a dog. Above it was another shape that might be a moon. On the left there was definitely a ladder, shooting up into infinity. As a work of art it only annoyed most people. Yet last summer that same canvas, now the proud possession of an eminent Union Club member, Mr. Albert Eugene Gallatin, was listed...
Occasionally Kaethe Kollwitz' technique of exaggerating significant details to grotesqueness for emphasis makes the work difficulty intelligible. At her best, as in the lithograph "Brot" she achieves striking beauty with remarkable simplicity and economy of line. Most powerful of the exhibits are the series of fascinating self-portraits, versions of "The Widow II," the conventional "Dance Around the Guillotine," and the symbolic "Hunger's Whip." Dr. Kuhn is to be congratulated for bringing such an exhibit to the Germanic Museum...