Word: visualizing
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Dates: during 1960-1969
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While White's choice of photographs may not satisfy everyone, he has constructed a unified exhibit of pictures that is effective on two different levels. On a purely visual level each photograph is a pleasing two-dimensional arrangement of lines and shapes, of tones and patterns. But nearly every picture in every exhibit has this quality. Many exhibits then go on to comment on some phase of human life, or of man's environment, or of nature. In such exhibits the photographers present their individual statements, which the viewer can then either accept, deny, or ignore...
These photographs are not simple, though the visual elements are basic--a hillside, a bathtub, a mirror. The few people in these pictures are not really individuals. You've seen them all before, though you don't really remember where. They are people composed of emotions. They're a part of you, torn from you, turned into silver and pasted onto a piece of paper...
...friend said, "The Army is competely armed and supplied by the United States. Bullets are given to us from American boxes, lubrication oil for the American M-1 guns is given to us in American cans, visual aids for basic training are American drawings...
...Osborne's script, Jory has chosen to rely entirely on a rapid flow of stage business to present his version of Porter. Jory keeps Marion Killinger pacing the stage with vicious energy, leaping onto tables, sprawling on the floor. He explains the man's anger with a series of visual and auditory irritations--the impassivity of Alison (Karen Grassle) at the ironing board, the obnoxious clang of evening bells, the black and white tedium of a litter of Sunday newspapers, constant courteous offers...
Original prints, even huge day-glo posters under black light are in their way more valuable than photographic reproductions of the Great Works of Fine Arts 13. With the poster you not only have the "picture" designed by the artist but the materials, the consistency and the total visual effect. With a paper edition of Rembrandt you hold only a deceitful shadow of the real object without the thick oil texture, the density, the depth that make the work great...