Word: viewer
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Dates: during 1970-1979
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...Ives, Cornwall. A fellow traveler with the small band of venturesome Britons-including Sculptor Henry Moore and her second husband, Painter Ben Nicholson-who pioneered abstract art in the 1930s, Hepworth established her trademark in 1931 when she pierced a hole in a small carving to seize the viewer's eye. "I thought it was a small miracle," she later recalled. "A new vision was opened." Holes and hollows, sometimes painted to accentuate their depth, turned up in most of her 500 sculptures, among them such characteristically involuted, smoothly chiseled figures as Kneeling, Winged Figure, and Single Form...
...clean, airy, comprehensible museum space than in this red velvet warren. No service to art is done by preserving the symbolism of private ownership in a public precinct; in a museum, paintings and sculpture deserve - indeed, demand - to be experienced as unedited messages from the painter to the viewer, rather than as things colored by the presence of this or that owner. In that regard, the Lehman be quest has set a precedent that one hopes will not be followed by lesser collectors eager for self-commemoration. Nevertheless, the collection itself remains superb: an extraordinary addition to the Metropolitan...
...sleepy courtyards and stately squares teeming with frantic deportees, strikingly recreate the immediacy of the event. The spectacle of families with the remnants of their possessions being systematically loaded onto transport buses by teams of leather coated French police and the insistent pace of the action force the viewer to empathetic panic. From the blase anti-semitism of the police, the variations of concern, indifference and greed in the spectators, and the fatalism and disorientation of the Jews, a subtle portrait emerges of the historical actors and attitudes involved in the deportation...
...lapse into romanticism and self-indulgence which threatens to mar the film's authenticity, however, is avoided by the stark contrast of the black and white sequences. The intercutting of past as color and present as black and white functions as a sort of Brechtian alienation effect, distancing the viewer from the action in order to make him consider its implications. The black and white sequences, both in form and content, pose the question of the occupation's meaning for Frenchmen today. The dull crowds of people, the dark buildings, the depressing film studio--mundane scenes from the present--undercut...
About the only field left to the movies, in which they could speak in a characteristic voice, is spectacle. The movies that overpower the viewer with effects only possible in film are the purest, most powerful cinematic experiences. Lacombe, Lucien, though it happens to be an excellent movie, could have been a book or a play; 2001 could only have been a movie...