Word: exhibition
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...Museum of Fine Arts (MFA) in Boston is showing a fascinating and disturbing new photography exhibit--one whose poignancy and controversy is infinitely enhanced by the recent terrorist attacks in New York and Washington. The exhibit constitutes a representative selection of the works of Paris-based photographer Sophie Ristelhueber. The photographs, in turn, exhibit striking images of the destruction and scarring caused by various wars of recent history, including the Gulf War, the conflict in Kosovo, and the civil war in Lebanon...
...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...
Some genes are specifically targeted by the human body's immune system, and these genes exhibit very high variability that allows them to evade the immune response, according to Wirth...
...needy children," says Franca Price, the museum's director. "We felt this was totally in line with what Audrey would have wanted." But clouds have been hanging over Tolochenaz. Hepburn's sons had asked that their mother's belongings be returned to them after five years. Without them, the exhibit will close at the end of this month. Some residents feel betrayed. "This really hurts, because after all the hard work we have to give up Audrey's legacy," says Elisabeth Mayor, a former neighbor of Hepburn's. Ferrer, 42, who now lives in Los Angeles, says the villagers have...
...artists, he died in 1970. The earliest works here date from the 1940s. Writhing with organic shapes and bearing titles like The Slaying of Osiris and Pagan Void, they depict nothing recognizable, though there is a floor or horizon for the viewer to hang on to. But in the exhibition's next room, full of canvases from the period when he found his own vision, the ground has fallen away and the viewer is suspended, gazing at pure painted surfaces - and beyond them into unreadable depths. The only features are the verticals that became his theme. In The Word...