Word: exhibition
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Dates: during 1960-1969
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...Catherine. It was unmistakably by the same hand as the Guennol version. The library purchased it, and by matching sentence breaks, even stains on the pages, proved conclusively that the two were once one, an uncommonly long Book of Hours illumined with 157 dazzling miniatures. Joined for an exhibit at the Morgan, the reunited book was clearly the finest Dutch manuscript in existence (see color pages). Now the halves are separate again...
However, this month they present an exhibit called "Departures and Distractions," which is illuminating in several ways. In it, the ladies have followed most of the current idioms, from abstract expressionism to hard-edge relief, from assemblages a la Stankiewicz to painting in debt to Jasper Jones. In the hands of the artists shown, these potentially vital forms have become empty and lifeless. If nothing else, this show should prove that using abstract means doesn't make a poor painter look any better. These relatively talented amateurs have failed; shouldn't this quiet those who have always claimed that...
...This exhibit should be educational in another way: it illustrates the wide dissemination that the new art forms (e.g. "pop art") have received. Yet the museums and galleries often act as if, after fifty years of abstraction, their only duty is to show the public that such a thing exists. Some people do still refuse to look at "modern" art; but if the Cambridge ladies are copying it, it has certainly gotten pretty far. We are ready for the second stage: let's have the museums and critics try to show something about quality in art, emphasizing that eighty...
...This exhibit is being treated because it is handy and symptomatic. It should be reported, in fairness, that its art is no worse than half of the things on Newbury Street (the Boston Galleries) or Madison Avenue. And one or two things are included that could go anywhere: a painting by Elizabeth O. Jones and a junk sculpture, "Bird," by Stanley Sheldon, stand...
...unfortunate that a second show sponsored by the Cambridge Art Association (at the Edna Stebbins Gallery, 3 Church Street) is scheduled to close before this article appears. Every painting dealt with the glories of the Charles River, and the exhibit was called the "Save Memorial Drive Arts Show." Though the moral and political effort here is unassailable, the art was depressing. A Raoul Dufy watercolor stood out (any time that happens, you are in serious trouble). My preference was for a work called "Trading Ship" by Nielson Wright, who must be, one would guess, about eleven. He showed...