Word: shows
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Dates: during 1980-1989
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...flounder, that feed on the pollutant-rich sediment. These creatures, like canaries placed in a coal mine to detect toxic gases, serve as reliable indicators of the presence of some 50 contaminants. The news is not good. Coastal areas with dense populations and a long history of industrial discharge show the highest levels of pollution. Among the worst, according to Charles Ehler of NOAA: Boston Harbor, the Hudson River-Raritan estuary on the New Jersey coast, San Diego harbor and Washington's Puget Sound...
...political conventions actually used to conduct business, debate issues and select candidates, saturation coverage had value -- if only, as network executives liked to point out, as a quadrennial civics lesson. Now that they have become four-night campaign commercials, the lesson being taught is not so much civics as show business...
...good news that the Guggenheim Museum planned a Braque retrospective for its main summer show in 1988. The bad news, however, is that it is a casualty of museum gridlock. The Guggenheim has neatly timed it to clash with not one but two other Braque exhibitions, in Japan and Norway, so that half the paintings one would most want to see were unobtainable. The New York show samples all the stages of a long career, but it is complete only in a chronological sense. It does contain some of Braque's masterpieces, but it gives you just the scaffolding...
...earliest paintings in this show, like the portrait of his grandmother from 1900-02, are timid, earnest homages to Corot and Boudin. In 1905 he saw what Matisse and Derain had done at Collioure, under Van Gogh's spell, with the hot colors and white light of the Midi. Prodded by his friends Othon Friesz and Raoul Dufy, he began to paint the colder northern light of Antwerp in a fauve style. But in this early work there is a sense of discomfort. Braque did not draw very well, and, as he lacked the graphic fluency of his mentors...
...search for a sculptural grandeur in bodies and landscape (faceted on the surface, dense as limestone below) became, for Braque, a moral absolute. Cezanne's greatness lay in his "classical impersonality," opening a way to what Braque called the "total possession of things." A weakness of the Guggenheim show is that it contains none of the paintings from 1908-09 with which, at L'Estaque in the south and the village of La Roche-Guyon outside Paris, Braque dug himself into and then out of Cezanne. Nor does it have the clumsy but crucial Large Nude of 1908, in which...