Word: viewers
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...between Maker and Rouch and the recent American copies is roughly that between the incredible Hitchcock of Vertigo and the bankrupt Polanski of Repulsion) is a master at forcing an audience to change their sympathies. Fantastically aware of the possibilities of a frame, Rouch can totally confuse a complacent viewer by having an actress turn her body about thirty degrees and in so doing undermine her earlier sympathetic position. In "Gare du Nord" these abrupt shifts of sympathy are used to tell the story of trapped people. (Obviously, American romantics who think of Paris as a city of escape...
...whose art is a twisted trail of surprises and double-entendres, the new piece is a triumphant denouement. It wraps all the themes of his previous works into one immensely charming paradox. The viewer enters a small white-walled room that is reminiscent of a grotto. On the far wall, a graceful brick archway frames a wooden door, silvery with age. Near the center of the door are two small peepholes that open onto a beguiling scene. There, lying on a bed of twigs and leaves is a delicate three-dimensional nude, her legs spread provocatively, her left hand holding...
Critics and connoisseurs will undoubtedly spend years tracing the imagery through earlier works. For the average viewer, the power and the majesty of Duchamp's last work lies suspended somewhere among its multiple metaphors and in the sage, sure wisdom imparted by an aging iconoclast that with every autumn comes the spring...
...merely under temporary hypnosis, the victim of diamond thieves next door who have learned that jewels are secreted somewhere in the house. The dingaling and his partner carom like pinballs from stock comic character to cliche villain until the labyrinthine plot culminates in four different endings, from which the viewer can take his choice. The best choice is to watch reruns of Laugh-In instead...
Keeping an appropriate distance, the Boston Museum presents this show with a minimum of fanfare: no special installation, on wall labels. The viewer does not even have titles to distract him. The art speaks for itself; it is not staged to beat the Museum of Modern Art. But with this small, unpublicized show, the Boston museum subtly presents its permanent collection from a new angle, making the eye compare established art of the past with art today. The confrontation continues through Monday...