Word: migrants
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...goes West; in California, he runs out of America. It is the culmination and extinction of hope. The vision of plenty for everyone becomes a mockery--a process whose impact is amply documented by the 1930s social-realist segments of this show, with their dock strikers and Mexican migrant workers pitted against grasping Anglo bosses. Different cultures and immigrant races swirl around, not in a melting pot as some optimists have supposed but in unappeased opposition to one another...
...however much of a cliche it may have been even at the dawn of the 20th century, there's no doubt about the Edenic promise of California to generation after generation of Americans. To the gold seekers of 1850 no less than to the desperate migrant Okies of the Depression, to the wannabe actress on the bar stool in Schwab's as to the migrant lettuce pickers from Mexico and the Jewish kid getting into the nickelodeon business, California signified hope, plenty, release and transcendence. It was the New World's New World. "That's why I can hardly wait/Come...
...portraiture. But it's a highly credible assortment, brainy and fun, with samples from most of the major episodes of 20th century photography. There's a fair selection of greatest hits--Edward Steichen's 1924 portrait of Gloria Swanson behind a scrim of black lace, Dorothea Lange's inevitable Migrant Mother of 1936--and some less familiar examples by big names. Everybody has seen Edward Weston's nudes, but probably not the one here, from 1927, which turns a pair of legs, tightly folded at the knees, into nestled loaves of Italian bread...
...portraiture. But it's a highly credible assortment, brainy and fun, with samples from most of the major episodes of 20th century photography. There's a fair selection of greatest hits - Edward Steichen's 1924 portrait of Gloria Swanson behind a scrim of black lace, Dorothea Lange's inevitable Migrant Mother of 1936 - and some less familiar examples by big names. Everybody has seen Edward Weston's nudes, but probably not the one here, from 1927, which turns a pair of legs, tightly folded at the knees, into nestled loaves of Italian bread...
...accusing Madonna of hypocrisy is not only futile, but nave. She is evolution. She exists on the momentum of contradictions, on the trajectory of postmodern appropriation. Always on the lookout for new material, Madonna is an artistic migrant--she moves from subject to subject, from body to body, to claim (or reclaim) a plot of the cultural landscape. Whether it's S&M, Indian yoga, geisha fashion, or now ruby slippers and cowboy gear, Madonna inhabits each new specter so effortlessly and completely that we have to believe her. Sure, she can't act onscreen but the reason...