Word: visual
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Dates: during 1980-1989
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Photography was not emphasized until the movement's later days. The camera was not seen merely as a means of aethestic expression--the exhibit lacks emotional and classic artistic poises--but rather as a technical tool which could be used to communicate and to explore visual reality. The photographs in the exhibit, created by professionals, teachers and students, reveals the range and versatility of the medium. One of the leaders of photography in the Bauhaus, Moholy-Nagy, created a number of "photograms." Photograms are not traditional photographs, but rather collections of objects exposed on photographic paper. The exhibit runs through...
...percent more of the faculty, drawing these extra professors from the junior faculty, as well as granting leaves, salary increases and other benefits to the promising young hotshot. This is a good first step, particularly if the posts are allocated to some of the harder pressed departments like Visual and Environmental Studies. But Spence should make sure that these goodies don't direct the junior professors towards research at the expense of teaching...
...current favorite of college students is MDMA, better known simply as "Ecstasy." Described as the "LSD of the '80s," MDMA offers the euphoric rush of cocaine and some of the mind-expanding qualities of hallucinogens without the scary visual distortions. It may also cause permanent brain damage. Last year the Drug Enforcement Administration outlawed MDMA...
...happen in sensual settings, that a place can be cruel and inviting all at once. This is something different from the plain bass note of tragedy played in black-and- white photography. Just as the world does, these sweet-and-sour pictures leave us to face the contradictory visual facts and to sort them out for ourselves. The chance to sharpen the moral faculties may be this show's most unlooked for benefit. Any exhibit can introduce some little pictures. How many help to clarify...
...suitcase filled with shoes and black brassieres, Latin-style music pulsing along a castle wall painted with austere political slogans. But rather than a satire, the production was a dreamlike allegory about the corruption of all plutocrats and of all firebrands. Woodruff and Set Designer Douglas Stein offered dazzling visual imagery, from a demented New Year's Eve ball to a row of garret apartments that appeared, suffused with golden light, halfway up the back wall of the stage. This technical facility never overwhelmed the text. The finale, when Figaro (Tony Plana) returned to join the junta and declared that...