Word: space
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Dates: during 1970-1979
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Crossings--a play that explores interpersonal space. Uh, yeah. Friday at 8 at 102 South St., Boston, fourth floor...
Because of the growth of the federal bureaucracy, which employs some 4.9 million workers around the country in everything from the space program to Social Security offices, Impact Aid today goes to 432 of the nation's 435 congressional districts. It has inflated from a $27 million funding plan that aided 1,172 school districts in 1951 to an enormous federal giveaway that this year will cost $770 million and benefit 4,100 of the nation's 16,000 school districts. The Senate will vote shortly on next year's Impact Aid program, and proposed changes could well send...
During the '20s, space itself?articulated air?became the subject of constructivist sculpture and painting, whereas before it had been the frame for a subject. In the '60s and '70s, the language of photography rather than the pattern of events tended to become the essential subject for many photographers. The retreat from public posture also combined with personal fantasy, reverie and wit. The result has been a rather low-pressure art that refuses to strum on the heartstrings. For convenience, Szarkowski divides the images in this show into "mirrors"?pictures that mean to describe the photographer's own sensibility?...
...their absence. Perhaps Frank's photographs represent the most powerful photographic view of America. The symbol of the American flag occurs repeatedly in his work; his photograph of the women and child in a car at the side of a highway expresses the "haunted" quality of America, its vast space and extremes--of hot and cold, of violence, exhaustion and pity. While Evans' photographs sometimes speak less forcefully than Franks', the message in the retrospective and in his book American Photographs is clear. As Trachtenberg concludes, "Each picture completes itself only in the complete work, which in turn reflects...
WHETHER PHOTOGRAPHING with a small, hidden camera on the New York subways or approaching women on Havana's streetcorners, Evans always gave his subjects the freedom and space to interact within their own environment. Levitt's lonely man watching TV on a streetcorner, Friedlander's self-portrait in a sleazy hotel room and Evans' dreaming sailor on the subway--these photographs succeed because of the seeker's sensitivity in approaching his subject. Just as Evans' sequence of closeups of miners' faces bespeaks the unjustified nature of their existence, Robert Frank's photograph of wealthy office seekers with their tall, black...