(MFA Publications, $22.50) Roberta Smith One of the most interesting books of the season takes a nothing-but-the-facts bead on a subject of increasing art historical study: the exhibitions that have introduced most modern art to the public.
An amalgamation of film history, world history, and feminist studies, the exhibition, which opens on April 3, 2014, focuses on the first 72 women to have won the prestigious Oscar for Best Actress.
The secondary objective of this study is the exhibition of the resulted values in a schematic way via FCM.
Its organizing principles initially seem hard to divine, though a study of the exhibition checklist reveals certain consistencies in the choice of artists.
Comparing results from front-end study of the exhibition's potential audience with those of the actual audience, findings indicate that the exhibition increased the lay public's ability to interpret scientific Trees.
The more you study the Morgan exhibition, the more you realize that lists are everywhere, and that list making is an essential human activity — a way not just of keeping track but also of imposing order on what would otherwise be chaos.
To augment the sketchbooks and illuminate the work that Diebenkorn created when he was at Stanford studying Edward Hopper, the exhibition includes loans of Diebenkorn's earliest works, many of which are on display to the public for the very first time.
From colonial settlements to community protests against gentrification, to recent "green renewal" projects such as Million Trees NYC, the case studies in the exhibition together uncover the political and economic interests behind the planting of trees in the city.
Represented by a 2007 study model in the exhibition, Mr. Mayne's building embodies the practical application of one of Fuller's most outlandish ideas: to enclose Midtown Manhattan under a dome that would moderate temperature swings to foster a "Garden of Eden interior".
