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The image appears to be a page from a newspaper or magazine, specifically from "The Boston Phoenix, Section Two, October 24, 1972," as indicated at the top of the page. The main content of the page is an article titled "Art: In Man's Image and Likeness" by Kenneth Baker. The article discusses contemporary figurative sculpture, with a focus on recent exhibitions at the Fogg Museum at Harvard.

The article includes several images of sculptures, including one by Nancy Grossman and another by Luis Jimenez. The sculptures are depicted in black and white, and the text provides a critique of the works and their relationship to the human condition and societal issues.

Below the article, there is a section titled "Exhibitions," which lists upcoming exhibitions at the Fogg Museum, including "Contemporary Photographs: New Acquisitions" and "Hair." The page also has a note indicating that it is from the "1972 Harvard Bulletin."

The overall layout and style of the page suggest that it is from a publication focused on art and culture, specifically from the year 1972.

This is a page from The Boston Phoenix, Section Two, dated October 24, 1972, on page 25. The article is titled "Art: In Man's Image and Likeness" and is written by Kenneth Baker. The page includes both text and images.

Text:

• The article discusses a small troubling show at the Fogg Museum at Harvard called "Recent Figure Sculpture."
• It mentions various sculptures by artists such as Duane Hanson, George Segal, and Luis Jimenez.
• The article critiques the sculptures, discussing their realism, material, and the messages they convey.

Images:

1. On the left side, there is an image titled "American Fertility" by Luis Jimenez. It depicts a woman in a dynamic pose, seemingly dancing or performing, with an American flag draped around her.
2. On the right side, there is an image titled "Untitled" by Nancy Grossman. It shows a sculpture of a bound figure, wrapped in leather and straps.

Additional Information:

• At the bottom of the page, there is a section titled "Exhibitions" which lists upcoming exhibitions at the Fogg Museum, including "Contemporary Photographs: New Acquisitions" and "Hair."

The page is slightly aged, with a beige tint, and it is part of a larger book or folder, as indicated by the visible binding on the left side.

This image shows a spread from a newspaper or magazine, specifically Page Twenty-Five, Section Two of The Boston Phoenix from October 24, 1977. The main focus is an article titled:

“Art: In Man's Image and Likeness”
By Kenneth Baker

Article Content Overview:

The article is a critical review of a contemporary figurative sculpture exhibition at the Fogg Museum at Harvard, described as a “small troubling show called ‘Recent Figure Sculpture.’” The author, Kenneth Baker, explores the challenges of figurative sculpture, arguing that its viability is often questioned in contemporary art because of its tendency to rely on “manikins” — figures that are too easily recognizable as art objects rather than subjects with inherent meaning.

Key artists and works discussed include:

• Luis Jimenez: "American Fertility"

  • Shown in a black-and-white photo on the left. The sculpture is described as a cast polyester figure of a woman holding a melting ice cream cone, wearing a 1960s hot rod uniform. Baker interprets it as reflecting “natural tendency to project abstract values or concrete desires onto some given image,” and notes the “vulgar iconography” of popular American culture.

• Nancy Grossman: "Untitled"

  • A photo of a dark, abstracted figure is placed on the right. Baker describes the figure as “truncated, over-sized male figure bound completely in black leather and tied up with belts and straps,” suggesting it “sounds like sadomasochist imagery” and questioning its message about freedom or condition.

• George Segal

  • Praised as “the best known artist in the show.” Baker notes Segal’s signature “typical white plaster figure in a constructed (or salvaged) setting,” which he calls “sufficiently theatrical.” He appreciates Segal’s honesty in not disguising the plaster, calling one piece “one of his best.”

• de Andrea and Hanson

  • Mentioned for creating “life-size figures cast from actual models” but noted for their “essential art gallery manikins.” Baker observes that their works are “usually made… from costumes and other props” and are “so clearly a set-up, so demonstratively directed at the spectator.”

The article ultimately questions whether contemporary figurative sculpture can be more than a kind of “identification difficulty” or “identification game” where identity and meaning are projected onto the figure, rather than inherent in it.

Exhibitions Box (Bottom Left):

Contains a list of current exhibitions at the Fogg Museum:

• “Contemporary Photographs: New Acquisitions”

  • Opening November 15 and running through January 1. Features works by Diane Arbus, Paul Caponigro, Bruce Davidson, Benno Friedman, Emmet Gowin, Robert Heinecken, Naomi Savage, Frederick Sommer, Paul Strand, and Jerry Uelsmann.

• “Hair — a delightful small exhibition”

  • Proving “throughout history hair has been of concern to both the haves and have-nots.” Continues at the Fogg through November 15.

Visual Elements:

• The layout is typographic, with two columns of dense text.
• Includes two black-and-white photographs:
  1. American Fertility, by Luis Jimenez — a full-length standing female figure in uniform.
  2. Untitled, by Nancy Grossman — a bound, dark, abstract male form, possibly kneeling or stooped.
• The paper shows slight aging, with a yellowish tint and minor stains.
• The bottom left corner includes a small note: “1978 Harvard Bulletin,” suggesting this page may have been clipped and saved for reference.

Overall Tone:

Kenneth Baker writes with a critical, reflective, and at times skeptical tone. He challenges the assumptions of figurative art and encourages viewers to question the “aesthetic” or “message” of sculptures that rely heavily on recognizable human forms. He finds moments of genuine power and honesty — particularly in Segal’s work — but remains wary of artists who use the human figure as a “setup” without deeper engagement.

This is not just an art review; it’s a philosophical consideration of how and why we look at images of the human body in art — and what we expect them to mean.

The image shows an open page of a magazine or publication. The page is filled with text and images, with a title at the top that reads "Art: In Man's Image and Likeness." The text appears to be an article or essay discussing the themes of human representation and likeness in art.

On the left side of the page, there is a photograph of a figure sculpture, possibly a work by the artist Nancy Grossman, as indicated by the caption. The sculpture depicts a human figure with a striking pose and expression.

On the right side of the page, there is another photograph of a different sculpture, also by Nancy Grossman, titled "American Fertility." This sculpture features a figure with a more abstract and stylized form, conveying a sense of movement and energy.

The text discusses the challenges and complexities of creating figurative sculptures that capture the essence of the human form and experience. It explores the different approaches and techniques used by artists like Nancy Grossman, who is described as a contemporary figure sculptor.

The article also mentions other artists, such as Duane Hanson, whose work is described as creating realistic and lifelike figures that challenge the boundaries between art and reality. The text delves into the philosophical and aesthetic considerations surrounding the representation of the human form in art.

Overall, the image presents a thought-provoking discussion on the themes of human likeness, representation, and the artistic process of capturing the essence of the human experience through figurative sculpture.

A newspaper article titled "Art: In Man's Image and Likeness" has an image of a black statue of a woman with her hands tied up and wearing black leather. The article discusses the challenges of creating figurative sculptures that are both realistic and contemporary. It mentions the work of Nancy Grossman, who created a sculpture of a man playing soccer, and Andrea Duane Hansen, who created a sculpture of a woman in a vacuum cleaner. The article also discusses the work of Luis Jimenez, who created a sculpture of a woman in a tank of ice.

The image depicts a page from a publication titled The Boston Phoenix, specifically Section Two, dated October 24, 1973, on page twenty-five. The page features an article titled "Art: In Man's Image and Likeness" by Kenneth Baker. The article discusses contemporary figurative sculpture, focusing on the works of several artists, including Nancy Grossman and Luis Jiménez.

Key Elements in the Image:

1. Article Title and Author:

   • The headline is prominently displayed at the top: "Art: In Man's Image and Likeness".
   • The author, Kenneth Baker, is credited at the beginning of the article.

2. Visual Content:

   • Left Side:
     • An illustration or photograph of a sculpture titled "American Fertility" by Luis Jiménez. The sculpture depicts a stylized female figure wearing a dress with an American flag design. The figure is posed dynamically, with one arm raised and the other bent, suggesting movement and vitality.
     • A caption beneath the image identifies the work as "American Fertility, by Luis Jiménez".
   • Right Side:
     • Another image labeled "Untitled, by Nancy Grossman", showing a sculptural figure. The figure appears to be made of leather and is posed in a dynamic, almost acrobatic stance. The sculpture has a dramatic, expressive form, with the figure's body stretched and twisted in an unconventional manner.

3. Text Content:

   • The article discusses the significance of figurative sculpture in contemporary art, exploring how artists use the human form to convey meaning, identity, and cultural commentary.
   • It references specific works, such as Nancy Grossman’s "Boys Playing Soccer" and Luis Jiménez’s "American Fertility", analyzing their artistic intent and impact.
   • The text delves into themes of identity, freedom, and the relationship between the artist and the viewer. It critiques the traditional notion of figurative sculpture and highlights how contemporary artists challenge conventional representations of the human form.

4. Exhibitions Section:

   • At the bottom of the page, there is a section titled "Exhibitions", listing upcoming art events, including a photography exhibition at the Fogg Museum titled "Contemporary Photographs: New Acquisitions." The exhibition runs from November 15 to January 6, 1974, and features works by photographers such as Paul Capogrosso, Bruce Davidson, Benno Friedman, and others.

5. Design and Layout:

   • The page has a classic magazine layout with a clean, structured design. The text is typeset in a serif font, typical of publications from the 1970s.
   • The images are placed strategically to complement the written content, with captions providing context for each artwork.

Summary:

The image showcases a page from The Boston Phoenix that combines critical art commentary with visual examples of contemporary figurative sculpture. The article examines the works of Nancy Grossman and Luis Jiménez, exploring themes of identity, freedom, and cultural commentary through their art. The page also includes a brief listing of upcoming art exhibitions, providing readers with additional cultural context. The design is typical of a magazine from the early 1970s, with a balance of text and imagery to engage readers in the discussion of contemporary art.

This image shows a page from a publication titled The Boston Phoenix, Section Two dated October 25, 1977. The headline reads "Art: In Man's Image and Likeness," authored by Kenneth Baker.

The page discusses sculptural art, specifically contemporary figure sculpture, referencing works by various artists. Two black-and-white photographs of sculptures appear on the page:

1. Left-side image: Titled American Fertility by Luis Jimenez, the sculpture features a dynamic figure.

2. Right-side image: Titled Untitled by Nancy Grossman, the sculpture displays a leather-bound human-like figure, which is expressive and dramatic in its imagery.

A small box at the bottom provides information about an "Exhibitions" section, mentioning a show titled "Contemporary Photographs: New Acquisitions" and other exhibits to be held. The page appears to be from an archival scrapbook, as it is mounted on a plain background.

The image appears to be a photographed page from a publication, specifically "The Boston Phoenix," dated Tuesday, October 12, 1977. The page features an article titled "Art: In Man's Image and Likeness" by Kenneth Baker. The article seems to discuss contemporary sculpture and the representation of the human form in art. A column of text occupies the majority of this page.

To the right side of the page, there is a black and white photograph of a sculpture. The sculpture is not identified by name in this view, but the caption beneath it reads "Untitled, by Nancy Grossman," acknowledging the artist behind the piece. The sculpture appears to be of a human-like form, with detailed textures and is fairly abstract in style. It seems to be placed upon a pedestal or base as typically seen in gallery displays. However, due to the caption being partially cut off at the bottom, further details about the sculpture are not ascertainable from the image provided.

Along the bottom of this page, partially cut off too, there's a red box with text discussing exhibitions, where the word "Photographs" and dates are visible, indicating an event or series of events related to photography. The text also includes part of an address and mentions "Fogg."

The overall condition of the paper suggests age and wear with discolored edge likely due to the passage of time, handling, or exposure to light.

The image shows a scrapbook page with a newspaper article titled "Art: In Man's Image and Likeness" by Kenneth Baker. The article is from "The Boston Phoenix," dated Tuesday, October 24, 1972, and appears on page twenty-five.

The article discusses the Fogg Museum at Harvard's sculpture and figurative sculpture, focusing on how contemporary and traditional art represent the human form. There are mentions of artists such as Luis Jimenez and Nancy Grossman, and the article explores themes like the nature of representation, the reaction to figurative art, and how different materials and styles affect the perception of artwork.

The page includes two black-and-white photographs:

1. On the left side, an image titled "American Fertility" by Luis Jimenez, showing a somewhat abstract or expressive figure.
2. On the right side, a photograph of a sculpture titled "Untitled" by Nancy Grossman, depicting a leather-bound, human-like figure with a head covered and detailed textural elements.

Additionally, there is a smaller clipping at the bottom left corner about exhibitions, specifically noting the "Fogg: 'Contemporary Photographs: New Acquisitions,'" with details about its opening and some of the artists involved. This smaller clipping is from the "Harvard Bulletin," 1972.

• A scanned page from a vintage newspaper/magazine. The header reads: “Art: In Man’s Image and Likeness” and the byline shows Kenneth Baker, from The Boston Phoenix, Section Two, October 24, 1977 (page twenty-five).

• The main feature has two black-and-white photographs of sculptures:

  • On the left: a small image captioned “American Fertility, by Luis Jiménez.” It shows a stylized, human-like figure.
  • On the right: a tall photograph captioned “Untitled, by Nancy Grossman.” It depicts a dark, tall sculpture of a female torso with an unusual, wrapped or sculptural form.

• The page consists of multiple columns of text discussing the works and themes of sculpture and representation.

• There is a small boxed “Exhibitions” blurb near the bottom left of the page.

• The page is yellowed with age and mounted on a brown backing, typical of a scrapbook or archival folder.