Word: exhibits
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Dates: during 1990-1999
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...current Prints and Privileges: Regulating the Print in Sixteenth Century Italy show at the Fogg is not one to be raced through. It requires concentration. You have to be, unlike me, willing to read all of the fine print. My first time visiting the exhibit, I walked through the hallway and one room a bit confused. I could not ascertain what the thread was that linked these varied Renaissance prints together. I was totally oblivious to the point being made...
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...
...have described the historical aspect of the prints in order to illustrate the dearth of the exhibit. That is to say, the appeal of this exhibit is not the quality of the prints as artistic creations, but within the context they were created and the meaning they had for the time period. To call most of these prints "superb works of art" would be the same as placing the Marlboro Man ads in the upper regions of artistic greatness. The two, after all, were displayed in similar places. We do not proclaim a political cartoon a masterpiece; rather...