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This public approval prompted Hopper to return to painting in the 1920s. According to the exhibition text, Hopper declared, "After I took up etching, my painting seemed to crystallize." And his etchings make perfect sense within the development of his work: by using the whitest paper and darkest ink available, he achieves a high contrast which evokes the stark, lonely quality of his paintings. The subject matter and mood anticipate those of his more renowned work: American streets and window scenes in which the human figures seem merely part of the still and vastly solitary environment...
...including Stone Age amulets from Scandinavia, 18th and 19th century Chinese figurines and treasures once owned by the Medicis of Italy and the Czars of Russia. Many of these artworks have never been publicly shown; none of them have ever been seen in North America. A lavishly illustrated companion text is being published by Abrams...
...most of his career DeCarava, who was born in 1919, has been a freelance photographer. He was 35 when he had his first critical and commercial success, The Sweet Flypaper of Life, a 1955 book that combines his pictures of Harlem life with text by the poet Langston Hughes. If the book is sometimes guilty of the blandness of concerned photography, it also contains pictures that mark the beginning of DeCarava's best work, most of which dates from the 1950s and '60s. His street pictures speak in the international language of the snapshot aesthetic. Figures...
WHAT ARE WE TO MAKE OF Virgil Thomson's impish opera Four Saints in Three Acts? Composed to a nonsense text by Gertrude Stein, originally sung by a mostly amateur all-black cast and set against a 15,000-sq.-ft. cyclorama backdrop made of cellophane, the work was a sensation at its Hartford, Connecticut, premiere in February 1934 and quickly moved to Broadway for a six-week run. Ever since, music lovers have been debating what, if anything, it means. "Pigeons, on the grass alas," indeed...
...potentially forbids not only obscene language and pornographic pictures but the text of such works as The Catcher in the Rye and electronic images of works of art featuring nudes...