Word: mfa
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...MFA exhibit works hard to capture Day's eccentricities. Several large glass cases contain an exquisite series of fine books produced by the firm Copeland and Day, a publishing venture specializing in decadent fin-de-sicle literature that preceded Day's career in photography. Each photograph is matted in the Arts and Crafts style that Day preferred, often using blues and browns as well as off-white. Some mats even include a thin orange square to contrast with the colorless images...
...press stopped publishing in 1976, due in part to a lack of "interesting manuscripts." North, gentle and erudite, partly blames the "fake professionalization of poetry and by the MFA phenomenon" for the shoddy state of contemporary verse. Indeed, Masters programs at prestigious schools (of which Iowa is the most famous) seem increasingly out of touch with the imaginative energy so consistent of underground communities. But today's problems are also economic. When publishing was cheaper, poets could devote their time to the serious business of writing verse-and keep their sense of humor about it. "Now," Fagin laments, "poets...
...need to concentrate in Visual and Environmental Studies or the History of Art and Architecture to appreciate this show of over 70 portraits, arranged chronologically and curated nearly perfectly by a team drawn from the Detroit Institute of Arts and the Philadelphia Museum of Art as well as the MFA. Anyone stopping in for a brief peek will see not only van Gogh's growth as an artist but also something of van Gogh's personality, from his relationships to his personal philosophy...
...Arles section, van Gogh's tragic life at last truly emerges in full force. Fascinated by the idea of an artist colony, van Gogh begged Gauguin and Bernard to join him in Arles. The three exchanged portraits. Yet the MFA exhibit only shows the self-portrait van Gogh sent to Gauguin, which portrays him as a thinking man, deeply committed to art, in vibrant, unrealistic colors suggesting a remove from reality. If the curators had borrowed van Gogh's portraits of Gauguin and Bernard from Amsterdam, a much clearer reflection of van Gogh's insecurities and hopes might have emerged...
...while--in the 1940s and '50s--Boston was associated with expressionism. St. Louis has great expressionist holdings. That in fact was associated with the man who left [St. Louis] and became the director of the MFA. He brought that particular interest with him to the Boston area, and it coincided with interests at the School of the Museum of Fine Arts. People like Max Beckmann had shows then, and Kokoschka. So at the Museum School in the late '40s and 1950s there was a strong identification of Boston with that expressionist tradition. But I think after this...