Word: galassi
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Dates: during 1980-1989
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...persuasive new exhibit that is now at New York City's Museum of Modern Art is going to change that. Curator Peter Galassi has mounted 90 photographs that Cartier-Bresson, 79, took at the outset of his career, mostly from 1932 through 1934. During those years he put aside his ambitions as a painter and began stalking the streets of three continents with a lightweight Leica and a potent surrealist intuition, an eye for the unearthly subtext of ordinary scenes. Add his powerful gift for spatial arrangement, and the result, says Galassi, is "one of the great, concentrated episodes...
...that brief span of time, Cartier-Bresson took dozens of his best-known pictures: Spanish children playing in the rubble of a building, a reflected figure leaping across a puddle behind the Gare St.-Lazare, Mexican prostitutes popping weirdly out of doorway slots. Galassi is not the first to cite surrealism as the force that conferred upon this early work its compelling strangeness, but he makes the decisive case. By the end of this exhibit's seven-city tour -- it goes to Detroit, Chicago, San Diego, Framingham, Mass., Houston and Ottawa through May 1989 -- no one will be able...
...house cheerleaders, urging their publicity, advertising and sales departments to make an extra effort on behalf of their books. The average editor is doing all this on at least a dozen books at a time. These are busy operatives with a built-in dilemma. Houghton Mifflin's Jonathan Galassi sees the editor as a double agent. "With the writer, he is collaborator, psychiatrist, confessor and amanuensis; in the publishing house, he must be politician, diplomat, mediator...