Word: viewers
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Dates: during 1990-1999
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Surprisingly, all the portraits are of women, yet it is not surprising that they were done by men. The men are signified by objects such as musical instruments and bottles. None of the women stare out at the viewer. Even Amedeo Modigliani's Portrait of a Girl, which is the only complete frontal portrait in the show, has eyes covered with aquamarine paint, making her eyeslits seem like precious stones. As girlish as she looks, she seems on the verge of womanhood. Picasso's Woman in a Turkish Costume dissects the sitter and renders her face with the same ostentation...
...painting if one views the forest as the paradise which evaded Van Gogh during his life. The catalog also states that there is no entry into this forest scene, but under close observation a path can be detected between two trees. The two trees seem to beckon to the viewer, conveying the idea that within the most destitute mind lies some sense of hope...
...Fine," the viewer thinks, "Another day in the life of multi-cultural America. Gee, we sure are diverse." But Cultures and Contexts is not a tired attempt to trot out all that is 'multi-cultural' from the dank basements of Mother Harvard, it is a thoughtful, if somewhat cramped, exploration of the problems that arise when adopting this diversity. "Many art museums now rush to embrace contextualization without recognizing or acknowledging that definitions of contexts themselves can be called into question," Burgard notes in the excellent gallery guide accompanying the exhibition...
Heavenly Creatures is frightfully romantic too, and romantically frightening. It ascends and plummets with the girls' mercurial moods. As they fall into a conspiracy of affection, the film lures the viewer into the girls' fantasy world, as elaborate as that created by the Bronte sisters: a kingdom called Borovnia, where the clay statues they have molded come to life as blue- blooded versions of their favorite "saints" (Mario Lanza and James Mason) and demons (Orson Welles, "the most hideous man alive"). But demons can also be sexy. When a fellow makes clumsy love to Pauline, she pays him no heed...
...death bed, it is frustrating to see yet another media portrayal of a gay man as a show-tune singing, camp-obsessed queen. It is hard to feel any connection to Leland, since Braderman rarely shows the substance and humanity behind the stereotype. Only when she shows the viewer a photograph of her friend, could I feel any attachment...