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...archaeology museum. In the 19th century, the Golden Age of Museums, cultural objects were seen as belonging to two different categories: art objects, considered primarily for their aesthetic value and arranged chronologically to trace artistic developments, and artifacts, grouped by civilization and serving as generic representatives of a particular culture. Not surprisingly, the objects designated art tended to be Western, while those classified as artifacts tended to be from so-called “primitive” cultures such as Native American, sub-Saharan African, and Pacific Island. Following this current of thought, the Peabody was founded in 1866, displaying...
...work their way up until they get to the modernist masters like Jackson Pollock and Franz Kline on the top floor, alongside African-American artist Jacob Lawrence and Cuban artist Wilfredo Lam. Objects from South, Central, and North America will be presented as forming a coherent whole, a particular trajectory through the evolution of artistic practice...
...Tunisian-born French film director Abdellatif Kechiche received the 2010 Genevieve McMillan Award at the Harvard Film Archive last Friday. “I am moved and touched [and] all the more gratified to receive this prize at this particular time because I am in the final stages of my most recent film, which can be tiring, and [this] is a great motivator to go back into the editing room,” Kechiche said...
...that there are no wrong interpretations. As artists, we put a lot in store in our own intentions. We intend our works to mean some things, and that’s what we want the viewer to get and understand. What an artwork means broadly in society as a particular kind of cultural object is first of all overwhelmingly defined by the fact that the artwork exists and is recognized as being a work...
...hesitant start which reflects the utter self-confidence required to say lines like “I heard my own name too late… I never got accustomed to it,” by-and-large settle into their roles. Ilker Oztop GSAS ’12 , in particular, stands out playing both Leah’s husband and her son. The hip-gyrating, dance routine that introduces the son exemplifies his performance, elevating the script’s ludicrous dialogue to even more absurd heights with a frenzied, hyperkinetic energy. Kerr, too, handles her challengingly multifaceted role with...