Word: visualizers
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...confronts the problem of video’s power, using this subtext to focus on an underexposed subject: the roughly 1.5 million adolescents who flee their homes every year in North America. But despite its shimmering surface, Bock’s novel ultimately crumbles under the burden of the visual medium it seeks to explore.“Beautiful Children” begins with the recounting of a recounting: Bock painstakingly describes the last filmed moments of Newell Ewing, a snotty 12-year-old reared by Las Vegas suburbanites, before he disappears into the oblivion of the Nevada desert. There...
...instance, is not a reiteration of hackneyed sentiments about the body. As people walked by the over-sized photograph of a vagina, they expressed shock, enthusiastic approval, and understanding. Jenna M. Mellor ’08, who created the piece in response to an assignment for Visual and Enviornmental Studies 65: “Tactics-Art, Politics and Performance,” admits that she wanted her work to border on absurdity. “Vaginas do not always treat vaginas nicely. In fact it seems as though vaginas hate vaginas,” one manifesto statement reads...
...first full curator of contemporary art in February 2007. “Long Life Cool White” is one of the first shows Molesworth has organized at Harvard, along with “Two or Three Things I Know About Her” at the Carpenter Center for Visual Arts, featuring Davey’s video “Fifty Minutes.”That her first exhibition is a retrospective, rather than a showcase for her new work, reflects Davey’s evolving approach to art and production. “I wanted to stop making...
...purpose of a documentary—and, some would hold, of art in general—is to make plain the unclear. “Secrecy,” the new documentary from History of Science professor Peter L. Galison ’77 and Visual and Environmental Studies (VES) professor Robb Moss, inverts this idea. It explores the U.S. government’s systems of classification and official concealment used to keep sensitive information from the public.The filmmakers trace the precedent of the State Secrets Privilege back to a 1953 Supreme Court decision in which the widow of Robert...
...eerie shots of Austin’s underground aquifer and a haunting voice-over reading Wendell Berry’s poem “Santa Clara Valley.” Shots contrasting the hills of thirty or even fifteen years ago with the bleak suburbs of today provide a visual counterpart to the sprawl outlined in maps and diagrams throughout the film.But Dunn’s real coup is the interviews, in which a variety of characters speak with disarming candor. Ann Richards, former governor of Texas, is shown in one of the last interviews she gave before her death...