Word: exhibition
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That said, shoe-size supercomputers were the only data-crunching gadgets I did not see at Comdex last week. Plenty of ultrathin, superlight laptops were on exhibit though--the industry's response to the critical acclaim that met Sony's launch of the under-3-lb. Vaio earlier this year. While Sony has just introduced an even newer model, the Vaio 505FX, people looking for a great on-the-road machine should check out Toshiba's Portege 3010CT. The Portege weighs 2.9 lbs. and still packs a 10.4-in. active-matrix color screen, a 4.3-gigabyte hard disk...
Within five minutes of speaking to the curator of the exhibition, Lisa Pon (a Ph.D. candidate in the History of Art and Architecture department), I realized that my ignorance at Prints and Privileges was largely self-induced. If only I had read the short descriptions which accompany each piece attentively, I would have learned so much. If you survey the exhibit as it was intended to be seen, patiently looking at each piece in order and reading all of the corresponding text. If you devote to it the period of approximately 45 minutes which is necessary to grant...
...exhibit is essentially an exploration of the print in Renaissance Italy as a form of counterfeit. It features both prints and some privileges, a deed given to an artist by the government stating that no one can copy their work. Some walls display a juxtaposition of originals with their respective copies; frequently though, the copies stand alone. It is organized thematically, according to the different media copied, and focuses mostly on the Durer/Marcantonio Raimondi pieces in the hallway as a point of departure for considering all of the other prints...
...that although Marcantonio may have been notorious, he was certainly not unique in his practice. "By the time of these prints, the printing press had already been around for a long time. The Renaissance itself was a movement founded on looking at predecessors." Marcantonio was in good company. The exhibit showcases a wide variety of types of art copied including religious pictures, maps, texts and chiaroscuoro woodcuts. Pon, in her manner of hanging and through textual supplements, subtly illustrates that, "copying isn't necessarily a bad thing, it was integral to the [Renaissance] visual culture." Here copies exist as veritable...
...Barbari "Bird's Eye View of Venice" and "The Submersion of Pharoah's Army in the Red Sea" next to each other, if nothing else. Acquiring the Barbari from the Boston Museum of Fine Arts was Pon's great curating acheivement and, as the visual centerpiece of the entire exhibit, it was well worth the effort. Then again, all of Pon's efforts here, if noticed, are fruitful. Pon has provided all of the clues to understanding and appreciating prints and privileges in the Renaissance--all you have to do is look for them...