Word: habitat
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Dates: during 1980-1989
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...public took him at his word and flocked to his Indian Gallery. In a time before photography, he provided the first real glimpse of the Indian in his native habitat. The art critics, who tended to take their standards from Europe, were at best condescending-the lowly Indian and his customs were not after all fit subjects for the historical-mythological aesthetic of the times, nor did Catlin's style accord with a taste that was bemused by the misty-moist romanticism of the Hudson River school. Moreover, Catlin probably did his artistic reputation no good by organizing...
...biases. Expressing "sympathy," administrators nonetheless cited "financial considerations" as making the steps impossible. At the same time, the school was well on the way to raising the $5 million it needs to break ground for its new building, scheduled a mere two years after work ended on its current habitat. The "need" for money had become a convenient and oft-used excuse for administrators unwilling to accept affirmative action initiatives...
...Kevin Starr pointed out in his Americans and the California Dream, California has always stood for something mystical in American life; it has not suffered the tragic historical burdens of the East and South, and it has seemed determined to make itself as much a folk tale as a habitat. But just as it has always insisted on its eternal newness and promise, it has also represented the dead end of the New World, the end of exploration, recalling all the mistakes of every past civilization. One reason that Balboa (Keats mistakenly wrote Cortes) might have stood "silent upon...
...sentiment, each of the 21 compass needles insouciantly pointing in a different direction: it is the log of no ordinary voyage. (Even the map on the inside of the lid depicts an excessively remote coastline, that of the Great Australian Bight.) The earth is presented not as our daily habitat but as one strange planet among others, which to Cornell...
...more subtle references-as in a dialogue between equals-to Marcel Duchamp in the boxes; sometimes Cornell would crack the glass panes that protected his images, in homage to the cracks in Duchamp's Large Glass. But the effect was much more violent, since-in a piece like Habitat Group for a Shooting Gallery, 1943-it suggested the rupture of a sanctuary, an attack upon Eden. The glass pane of Cornell's boxes, the "fourth wall" of his miniature theater, is also the diaphragm between two absolutely opposite worlds. Outside, chaos, accident and libido; inside, order, sublimation, memory...