Word: exhibiting
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BostonLA, the latest exhibit in Mather House’s Three Columns Gallery, has added bright colors and pulsing designs, through idiosyncratic techniques, to the everyday view of house residents...
Curated by art history concentrator and Mather resident Sarah R. Lehrer-Graiwer ’05, the exhibit was organized on behalf of the Harvard Advocate, the campus literary and visual arts magazine, for which Lehrer-Graiwer serves as the Art Pegasus...
...anti-war imagery scanned from the Internet and drawn over 4,000 Post-It notes in Silvia V?lez's Not In My Name, 2004. Above all, the show attempts to free up the frozen image, capturing the shift in contemporary art from photography to video and back again. Exhibit A is Patricia Piccinini, mistress of the morph. For her wondrous meditations on genetic engineering, it's only natural that she has spawned a mutant medium. Here Piccinini is represented by her Venice Biennale video, Plasmid Region, 2003, which shows a magnified plasmid cell slowly reproducing. How to love her offspring...
...That discussion allows him to show how he approaches the world differently from the members of the Bush Administration, sees alliances as assets rather than burdens, sees patience as a virtue and not a weakness, sees means as being as important as ends, with Iraq exhibit A. He says he learned from Vietnam, where he served as skipper of a swift boat, that you go to war only if all other options fail and that you had better make certain you are prepared to do what it takes to succeed. Whatever his criticisms of Bush's war, Kerry says...
...nude (Suzanne Valadon, Gwen John, Cindy Sherman). Some pose with palettes, others focus on the essence of their art: Henry Moore sketched his strong sculptor's hands. And James Montgomery Flagg used his own face for the famous World War I "I Want You" poster of Uncle Sam. The exhibit is only a small excerpt from a massive new book, Me I, by Oneself by curator Pascal Bonafoux and editor-publisher Diane de Selliers, due out this month. While affinities are not readily apparent between the 19th century master draftsman Jean-Auguste-Dominique Ingres and the feisty 20th century rebel...