History, not buzz, is the subject, and a fascinating history it is, from Robert Frank’s unvarnished photographic views of post-World War II America, to a video of Joseph Beuys sweeping the streets of Berlin clean of trash and ideology in the 1970s, to digital montages by Fatimah Tuggar uniting today’s streets of New York and Lagos, Nigeria. Vigorously realized in jagged brush strokes of lurid pinks, greens and yellows and shades of charcoal black, the paintings depict stylishly dressed female streetwalkers and furtive, darkly cloaked men on the nocturnal, vertiginously tilted streets of an infernal city on the brink of a world-destroying war. The best moment is on the fourth floor, where the elevator doors open on the stunning, tragicomic spectacle of Zoe Leonard’s dead tree held up by cables and stanchions and Maurizio Cattelan’s full-size horse hanging high in the air, with its head seemingly buried in the wall. Between Michael Bauer’s elegant, genielike abstract painting and Alex Hubbard’s hat-trick video abstraction, links are formed by the morphing geometries of Mark Barrow’s painting and Frank Haines’s sculpture; the opposing uses of representation deployed by Rashid Johnson and Alan Reid; the angular profiles and doublings of Erin Shirreff, J. Among the contributors are the Irish journalist Patrick Cockburn; the peace activist Kathy Kelly; the writer Jalal Toufic; the artists Natasha Sadr Haghighian, Trevor Paglen and Martha Rosler; and the artist collective Friends of William Blake. THIS IS NOW’ An ambitious but muddled effort to extend the activist spirit of the Vietnam War protest days into the Iraq war era, this exhibition presents a mix of politically motivated artworks dating from the 1960s to the present by more than 60 artists.
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People gasp as Camargo, a Tech development officer, points to the ceiling and says, “This is the flying machine, the quintessence of Leonardo’s early work. The guests, San Jose State University alumni, were getting a preview of what the Tech calls the biggest exhibition ever devoted to Leonardo and other artist-engineers of the Renaissance. Examining Leonardo through the lens of recent scholarship, the exhibition paints him as a product of the arts-and-engineering revolution of his times, not some lone genius. That revolution is brought to life through working models based on sketches by Leonardo and other engineers; a pair of paintings, loaned by the Uffizi Gallery of Florence, by two of Leonardo’s disciples; and multimedia presentations on “The Mind of Leonardo,” exploring his thought processes and ingenuity. They include the Museum of the History of Science in Florence, whose director, Paolo Galluzzi, is curator of “Leonardo”; he has flown in from Italy to attend a news conference at the Tech this morning. Leonardo had planned to cast it in solid bronze — 70 tons of it — from a single mold as the greatest sculpture of the day.
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The move comes after a group of Italian investors made official Monday its decision to withdraw an offer to take over the profitable assets of the Italian air carrier. It was the third failed attempt to sell the long-troubled airline in less than two years as Italy struggles to keep a four-year-old pledge to the EU to privatize the flagship carrier. The notice, initially posted Monday evening on the airline’s Web site, urges potential buyers to take into account the need for a speedy transaction. The government has already made clear that the offer by the group of Italian investors led by scooter-maker Piaggio chairman Roberto Colaninno was the last best chance for Alitalia’s survival.
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The works cover one of da Vinci’s most celebrated notebooks, the “Codex on the Flight of Birds,” and 11 important drawings. The drawings have never traveled as a group before or been made available outside of Italy in its entirety. This material may not be published, broadcast, rewritten, or redistributed. Copyright ©1997 - PG Publishing Co.
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