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...actual art object. Meireles, like the most famous Conceptual artists, including Joseph Kosuth and Lawrence Weiner, gained critical acclaim in the 1970s. Through the medium of language, Kosuth and Weiner examine such issues as the commodification of the art object as well as the relationship between art's visual and intellectual impact...

Author: By Scott Rothkopf, | Title: Defining the Politics of Perception | 3/6/1997 | See Source »

...quotations address the post-modern "atrophy of experience," a symptom of the "information age," but the poor quality of the projections dilutes the visual impact of Kosuth's Primary cintext for his text, defying his emphasis on context and art being incorporated into the "real world...

Author: By Velma M.mcewen, | Title: MIT Kosuth Exhibit Gives Sub-Text to Text | 3/6/1997 | See Source »

...defining the Context of Art: 1968-1997, The Second Investigation and Public Media" at MIT's Weisner Visual Art Center displays Joseph Kosuth's development as philosopher and social commentator, but, overall, lacks visual intrigue. Housed in a small, dimly lit room, the show consists of three large projections that cover two walls, black lettering on the sole window and approximately 25 striking black-and-white photographs...

Author: By Velma M.mcewen, | Title: MIT Kosuth Exhibit Gives Sub-Text to Text | 3/6/1997 | See Source »

...about how scholars create a work of history. It's a different product because it's a different product because it's a different medium, different assumptions, different needs. I think there are pretty important differences; the film is much richer and more complete in terms of conveying a visual world. On the other hand there are things that books can do that films absolutely can't. I think that there is a historical complexity in the book that is not in the film...

Author: By Judy P. Tsai and Bonnie Tsui, S | Title: Professor of History Paves Way for Fine Film | 3/6/1997 | See Source »

...quiet meditation which the pianist delivered with intelligence. Haefliger, whose father Ernst is a great tenor, always imparted a vocal quality to the music, even in the note-heavy presto rondo. The cadenzas in both the first and third movements had dramatic as well as technical and even visual interest: Haefliger played with his eyes closed but turned toward the ceiling, and wore an expression of ecstatic concentration, his upper body resembling a bust of Homer. The orchestra that had commanded comparatively little attention for the majority of the piece came into its own toward the conclusion, matching Haefliger note...

Author: By Matthew A. Carter, | Title: Talented Ensemble Makes for Good, Clean Fun | 2/27/1997 | See Source »

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