Word: moma
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Dates: during 1970-1979
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Last week a survey of Vollard's 45 years of work as impresario went on view at Manhattan's Museum of Modern Art. It is the kind of show that only a museum with the resources of MOMA could bring together-more than 450 prints, books and bronzes, accompanied by a catalogue raisonné by Art Historian Una Johnson, and all assembled by MOMA's director of prints and illustrated books, Riva Castleman...
...taught photography classes-since 1961 he has presided, diffidently and sometimes with an acute resentment about wasted time, over the department of photography at the Rhode Island School of Design in Providence. His public utterances are few, and his letters, if one can judge from the excerpts quoted in MOMA's elegant catalogue, are among the dullest ever written by a major artist. ("Our Peru trip wasn't too great . . . Cuzco was good but really just another Spanish city with Indians.") No matter. Since 1938, when he bought his first camera-he was then an accounting clerk with...
...reeds in snow or telephone wires against a blank white sky could be credited with much social commitment. Callahan's desire to rescue one formally perfect image from a thousand failed slices of life seem priestly now, but it must have looked solipsistic then. "His aim," writes MOMA's director of the department of photography, John Szarkowski, "has been not to bend photography to his purposes, but rather to immerse himself in its will-to make himself its instrument and servant." The point is symbolized by an early photograph in the catalogue of Callahan at work, pointing...
...European Vision of America" (TIME, Dec. 12,1975), seen last winter at the National Gallery in Washington. The other-a collection of 153 paintings entitled "The Natural Paradise: Painting in America 1800-1950"-opened last week at New York's Museum of Modern Art. Organized by MOMA's painting curator Kynaston McShine, it sets out to expose a hidden thread in American art, the umbilical cord that connects such abstract expressionists as Jackson Pollock and Mark Rothko with the landscapists of the 19th century, like Albert Bierstadt and Edwin Church...
...good things" are on MOMA's walls, in plenty, along with a number of revealing oddities. Who would have thought that George Catlin, that dependable journeyman who labored so hard to record the dying Indian tribes on his journeys across America in the 1840s, would produce landscape studies-a low band of earth, a luminous veil of sky-that look like Rothkos...