Word: mfa
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...best abstract efforts are seen in "Wire Wheels," (1918) and in "Abstraction, Porch Shadows" (Connecticut, 1915) where the silts of light are only fully realized for their clarity and brightness in an original print like that of the MFA show; the book's print attempt cannot compare, although on the whole the quality of reproduction for this edition excels. The perch railing casts a row of dark stripes, a zebra-like image doubled by refraction onto a rounded object that protrudes from the righthand side of the picture. The distinctness of these evenly-spaced bars of dark and light anticipates...
...create such an interest in clean, abstract imagery, yet his association in these early times with such American artists as John Martin. Georgia O'Keefe, Charles Sheeler, and Marsden Hartley testifies to his following of this parallel art world and its influence is seen plainly in other works. The MFA has eloquently pointed out these connections with its juxtapositions of actual oils, drawings and sculpture by these artists. One of the most exciting comparisons is between Georgia O'Keefe's oil from 1953 at "Abiquiu Trees" and Strand's "Dunes near Abiquiu." (1931 that shows us how both artists were...
...fishing village, which are draped between wooden poles, from superimposed textures of romantic lace. From the upper lefthand corner, the clouds roll in, lighted by some heavenly power, fit for the play of cherubs. Unfortunately, the album cannot achieve a reproduction that equals the impact of the original; the MFA's print sets it apart--the tones image from billowy white to black shadows...
...book does a better job of selecting Strand's more significant works, yet the retrospective at the MFA gives us a greater understanding of the total photographer--his triumphs and attempts. Strand captures a powerful image in front of his camera; there is no denial of the manner that stands in back...
American Faces, Nineteenth century portraits at the MFA, book corridor...