Showing papers on "Exhibition published in 1972"

Steps to an Ecology of Mind

Abstract: Gregory Bateson was a philosopher, anthropologist, photographer, naturalist, and poet, as well as the husband and collaborator of Margaret Mead. With a new foreword by his daughter Mary Katherine Bateson, this classic anthology of his major work will continue to delight and inform generations of readers. "This collection amounts to a retrospective exhibition of a working life...Bateson has come to this position during a career that carried him not only into anthropology, for which he was first trained, but into psychiatry, genetics, and communication theory...He ...examines the nature of the mind, seeing it not as a nebulous something, somehow lodged somewhere in the body of each man, but as a network of interactions relating the individual with his society and his species and with the universe at large."--D. W. Harding, New York Review of Books "[Bateson's] view of the world, of science, of culture, and of man is vast and challenging. His efforts at synthesis are tantalizingly and cryptically suggestive...This is a book we should all read and ponder."--Roger Keesing, American Anthropologist Gregory Bateson (1904-1980) was the author of Naven and Mind and Nature.

The nature of recreation;: A handbook in honor of Frederick Law Olmsted, using examples from his work

Abstract: The Nature of Recreation is a handbook through which the reader-participant can learn to discover what he really wants and needs in the way of recreation. By stressing the identification of performance components in the environment, and with the aid of questions and exercises, the book enables the reader to define and articulate his recreational needs--and maybe those of his neighbors down the street or across town, depending on the scope of his social imagination. Originally created to accompany and supplement the exhibitions on Frederick Law Olmsted mounted by the National Gallery of Art in Washington and the Whitney Museum of American Art in New York, this book goes beyond the scope of traditional museum catalogs and so extends the scope of the genre. In this respect, the book is designed and planned to lead a full life independent of an exhibition. And should the reader come away from it determined to use his newly acquired analytical skills and constructive demands as a participating citizen, it will be to the benefit of us all and truly in the spirit of Olmsted.The handbook is filled with photographs and diagrams. Olmsted's work is depicted in tones of brown, and more recent creations are shown in green. These two sections (with text about and by Olmsted and on recreation in general) run in parallel throughout the book along with a third section that brings together interesting facts about various facets of recreation.

Georg Gottfried Gervinus: The Historian as Activist

Abstract: A FEW WEEKS AGO, while passing through West Berlin, I had an opportunity to visit a new historical exhibition sponsored by the Federal Government and housed in the restored Reichstag building. The occasion for this show is the 100th anniversary of the founding of the German Empire of 1871, but this is a circumstance that seems to be a source of embarrassment both to the sponsors and to the historians who have brought the materials and exhibits together. In his preface to the thick catalog that one can buy outside the hall Professor Lothar Gall writes:

Shona Art Today

Abstract: Many of our long-term readers will recall that in Volume I, Number 2, we published a description of the Shona Sculptors' Workshop directed by Frank McEwen. Recently, representative sculpture from this group was displayed in the prestigious surroundings of the Musee Rodin in Paris. Claire Polakoff reported on this significant exhibition in Volume V, Number 3 of “African Arts.” This exhibition acted as a reminder to the editor. Recognizing the bitter international discussion that surrounds the political circumstances of present-day Rhodesia, we wrote to Frank McEwen, renewing old contacts and asking whether the current situation was eroding the opportunities for the work of the Sculpture School. We received the following report, accompanied by fine photographs of new carving from the most able of this group.

The Russian Avant-Garde and the Russian Tradition

Abstract: The period in Russian art history directly following the Bolshevik Revolution and lasting until the advent of Social Realism in the middle 1920s has rightly been heralded as truly progressive and at the forefront of the European avant-garde. A number of exhibitions have focused in recent years on such prophetic figures as Malevich, Tatlin, Lissitzky, and Rodchenko, with appropriate consideration of their profound influence on contemporary art. Yet art historians have almost totally failed to recognize the essentially Russian nature of this art and thus we have developed, I believe, a mistaken view of the Russian post-revolutionary avant-garde.

A study of family planning exhibition at a rural fair.

Abstract: An orientation training in family planning for the artists-cum-photographers of the state and district family planning bureau of Tamil Nadu India was organized by the Gandhigram Institute of Rural Health and Family Planning in June 1970. The average age of the visitors was 33. About 90% of the visitors were males and about 80% were currently married. Aobut 35% of them were illiterates. A substantial proportion of visitors understood the advantages of a small family when they came out of the exhibition. Only 53% of the entrants knew 1 or the other method to postpone pregnancy whereas the percentage was 87.7 among the outgoers. 77.5% of the entrants and 93.8% of the outgoers reported knowledgeability about at least 1 method to limit pregnancy. There seems to be selective perception of male sterilization among male visitors. Illiterates have gained more knowledge than literates. As regards places of availability of contraceptives 64.2% of the entrants reported awareness of 1 or the source whereas the percentage was 80.4 among outgoers. It was encouraging to note that 69.1% of the visitors reported that the exhibition was good and the rest said it was fair and none reported poor. The findings of the exhibition seem to indicate certain directions for organization of educational programs and exhibitions in the future.(AUTHORS MODIFIED)

The Art Gallery in the Negro College: Neglect, Half Measures and Progress

Abstract: The generally depressed condition of the Visual Arts program in the Negro college is well known to those of us who work in these institutions, but perhaps is less familiar to others in the art world. For in most American universities and colleges the art museum or the gallery for art exhibitions is recognized and supported as an educational and cultural resource. As the result of a recent research trip I am obliged to report that resources of this kind, with a very few exceptions (which I shall mention below), are conspicuously absent in the colleges founded for Negroes in the United States.

Geology and the museum

Abstract: Synopsis A brief historical review of geology and museums in Edinburgh is given to illustrate the opinion that until the Second World War the growth and function of geological museums reflected the state of the science which they have been active in promoting. The place of museums in the Earth sciences should now be reassessed in view of the revolution in techniques, manpower and thought patterns which has taken place since the war. It is concluded that museums will continue to provide three important services to geological science: acquisition and conservation of reference collections; publication of data provided by research based on these collections; and the promotion of a greater public understanding of the work of geologists through exhibition and museum educational services.

Impressions After an Exhibition

Abstract: DURING these summer months the New York Public Library has been holding an exhibition at the Research Library of the Performing Arts, Lincoln Center, of manuscripts, drafts, annotations, letters, photographs, posters, objets, objets d'art, and other memorabilia selected from Stravinsky's legacy, and lent by his widow. The exhibition is unprecedented with respect to the collection of objects on display-since, for one thing, it is presumably only after so public a figure's demise that an assortment of this kind becomes open to the possibility of being thus exhibited-although a number of items had been familiar in published form. It is also, I conjecture, the first in a potential succession of exhibitions (depending, primarily, upon the eventual location of, and time at which, the entire legacy of these materials may become, as is to be hoped, in the most positive sense, public property), and it was mounted in conjunction with a Stravinsky Festival celebrating the 9oth anniversary of the composer's birth. The mere variety of objects shown reflects the character of the exhibition: rather than being a show geared toward composers and scholars, it appears to have been designed so as to contain 'something for everybody'. For the professional and the specialist, therefore, the interest awakened by approximately half of the items in the show is offset by the curiosity (and frustration) aroused by an inherent limitation imposed upon any such exhibition: manuscripts, sketches and drafts, placed in glass cases, reveal only what is on the single leaf or, at most, the double page selected from a given volume. Moreover, the present assortment does not even provide for any fully sequential glimpse of the various phases and transformations undergone by a given piece of musical material in the trajectory covered between a first notation and a final compositional realization. It is consequently impossible to infer the extent, in any particular instance, of that trajectory; nor does the show afford more than a smidgen of evidence as to Stravinsky's working methods. Nevertheless, a few manuscript pages do give evidence of a sort that transcends the content of a particular exhibited page, and that can therefore lead to some thought, invoke some conclusions, give rise to some speculation, and lend confirmation to some broad impressions.

The 1973 Physics Exhibition

Abstract: In 1973 the Physics Exhibition will be held at Earls Court, London. This move will be welcomed by many people since Earls Court is nearer the centre of London than Alexandra Palace, and will provide a generally more popular venue.

Montréal : Plus ou moins? = Montreal : Plus or Minus?

Abstract: Charney defines the exhibition as a look at the relation between the physical presence of Montreal and the way people live. Comics, photographs, letters, and other documentation address issues such as poverty, housing, public spaces, employment, and the evolution of Montreal.