Word: sixtytwo
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Still, Brassai is not a parochial artist as the sixtytwo photographs on display in M.I.T.'s Hayden Gallery brilliantly prove. Brassai's works confront us as documents and as works of art. They present the appearance of a specific moment in history yet manage to escape a pernicious topicality. Brassai takes pictures that beckon us to return again and again, like his portrait of a peasant sleeping on a train, oblivious to the landscape whizzing by outside his window, his worn and grizzled head thrown back against the seat, his mouth a gaping black hole. Or his photograph of Kiki...
PHILOSOPHY I.- Seminar, Wednesday June 12, at 7.30 p. m., sharp. The sixtytwo questions will be definitely answered...
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