Word: visual
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Dates: during 1980-1989
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...considered for the prize, a student must be nominated by May 27, by the member of the teaching staff who has supervised his or her work. The work may be anything from a term paper to a project in the visual arts, film or music...
THOSE PEOPLE who think Boston is hopelessly behind the times culturally, that New York is the only place to experience the avant-garde in the visual and performing arts, clearly don't know about the Hub's Institute of Contemporary Art (ICA). For almost 50 years now, the ICA has been the setting for some of the most adventurous exhibitions in the country. And while the institute has had its share of flops over the decades, this last year has seen a phenomenal string of artistic and-popular successes at the ICA. And many in the arts community believe that...
...monolithic avant-garde. If there's a cutting edge in art, it's like a round razor--it cuts in all directions at once." Besides its spectacular "Art and Dance" performance series, and the popular series of video screenings, the ICA this year has offered several exhibitions of purely visual, stationary works of art as well, including an exhibition of pastels by Lucas Samaras, and the recent showing of Christopher Wilmarth's "Breath," a collection of blown glass, steel sculpture and works on paper, created in response to seven poems by Stephane Mallarme. The upcoming "Boston Now" show will feature...
...rise of video, and cable's MTV, spurred some angry words. WBCN's program director, Oedipus, argued that video "defines a song in a visual context," and Wendy Heide, WMBR, added "it creates a passive audience. Viewers don't have to use their imagination," WZBC's program Jim McKay bluntly accused MTV of "playing music over and over--beating it into your brain." Obviously video is not a loved media among the audio jacks...
Author Spoto is too shrewd to imagine, however, that an artist is the sum of his quirks. Hitchcock's brilliance was entangled with his personal grotesqueries, but it was real brilliance. He grew up with the film industry, and at his best gave movies a dazzling visual impudence: the single flash of color in the black-and-white Spellbound, as the pistol of the suicidal villain flares red; the wicked eroticism of Janet Leigh's shower scene in Psycho, a film that, as Spoto points out, takes pains to make the viewer queasily aware of being a voyeur...