Word: strand
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...CURRENT Retrospective Exhibition of Paul Strand--an exhibit of over 500 photos--at the Museum of Fine Arts till December 10, we can observe Strand's spirit of search. His efforts were directed toward finding the emotional significance of the object. For his early work in the 1920's he shot trees, gnarled driftwood, machines--close--ups of plants and rocks. His work with close-ups led Strand to explore the world of human portraits. At one polar, he experimented with the idea of photographing people when they were answers that they were in view of the camera. This...
...camera, while the other remains closed, the white just barely peeking out from between the lids. A white-painted sign with dark letters spelling "BLIND" hangs from her neck and stands out bold against her black-robed chest. The cold stone wall behind her head matches the grey strands of hair showing from beneath her black scarf; the wall's slate grey indifference intensifies her rejection from New York's burgeoning society--a society that has pinned a metal badge "Licensed Peddlar 2622" at her collar. Few photographers have achieved as powerful a moral statement as Strand...
...Many of Strand's earlier works are abstract, a style that he did not continue in his inter photography. "Abstraction, Bowls," (Connecticut, 1915) he claims to be just an experiment, but his awareness of their smooth, rolling contours can't be missed in his later handling of hats in "Hat Factory" (Luzzara Italy, 1953) (seen in the remarkable tow-violence retrospective monograph published by Aperture this year), and even in the Chiaroscuro of dark and light is such foreign architectural structures as "Gateway" (Rabat, Morocco...
...world and its influence is seen plainly in other works. The MFA has eloquently pointed out these connections with its juxtapositions of actual oils, drawings and sculpture by these artists. One of the most exciting comparisons is between Georgia O'Keefe's oil from 1953 at "Abiquiu Trees" and Strand's "Dunes near Abiquiu." (1931 that shows us how both artists were captured of the poetry of the New Mexican landscape. Her pink stand intensify the pastel puffiness of Strand's cumulus clouds blowing over the dunes. While Strand has emphasized the staccato patterns of vegetation almost mirroring the clouds...
Mexico to which Strand devoted an entire portfolio in 1967, incorporates his most dramatic studies and most in-depth portraiture, Unequaled to any photo as the exhibition is "The Nets, Janitzio, Lake Patzcuaro" (Mexico `1933). Framing the glorious power of Tiepolo together with the social realism of Ben Shahs, Strand pictures a women on her knees spreading out fish to dry while the nets of the little fishing village, which are draped between wooden poles, from superimposed textures of romantic lace. From the upper lefthand corner, the clouds roll in, lighted by some heavenly power, fit for the play...