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ARCH.2003.39, Rendition: 806592
This image displays a single, aged newspaper clipping from “The Boston Phoenix,” specifically Section Two, dated October 15, 1970, on Page Eleven. The clipping is mounted on a larger, light tan paper or cardstock background, which has two circular hole punches near the top edge, suggesting it was filed or stored in a binder.
The clipping is an art review titled:
Art: A Cabbage Grows in Cambridge
The article is written by Kenneth Baker and focuses on the Boston Museum of Fine Arts’ (Fogg Museum) exhibition “Photography Unlimited.” Baker’s central subject is artist Lou Brown DiGullo and her provocative piece featuring “cabbage images onto muslin,” which were then reconstructed into cabbage forms using sewing and wiring.
The review explores the concept of “manipulative photography,” a term Baker uses to describe the radical techniques of artists in the show that move beyond traditional documentary photography. He argues that DiGullo’s work, despite its unconventional materials, is not about cabbages themselves, but about the nature of photographic images — how they can be distorted, fabricated, and made to appear “real” or “natural.”
The article also references other artists in the exhibition, including Kay Shuper and Michael Becotte. A large, black-and-white photograph by Kay Shuper, titled “Social Landscape Wearing Marlene,” is prominently featured next to the text. It depicts a woman from behind, wearing a short, patterned dress and posing with her hands on her hips, her legs crossed and one arm raised. The caption beneath the photo notes: “Kay Shuper’s ‘Social Landscape Wearing Marlene’.”
Baker concludes by suggesting that this kind of manipulative photography raises important questions for both photographers and critics, challenging the notion of photographic “reality” and inviting viewers to consider the constructed nature of the images they see.
In summary, the image is a historical artifact — a 1970s art review capturing a moment of critical discourse around conceptual and manipulative photography, anchored by a striking photo of a woman in a patterned dress.
The image appears to be a page from a newspaper, specifically from "The Boston Phoenix," dated October 15, 1974. The page is titled "Art: A Cabbage Grows in Cambridge." The article is written by Kenneth Baker and discusses an exhibit of manipulated photographs at Harvard's Fogg Museum, titled "Photography Unlimited."
The text includes a discussion on the work of photographer Lou Brown DiGuilio, who created a piece called "Cabbage Patch" using cabbage images transferred onto muslin and then reconstructed into actual cabbages. The article elaborates on the concept of "manipulative photography," describing it as a technique that uses photographic and printing processes for purposes beyond creating conventional photographs.
On the right side of the page, there is an image of a piece titled "Social Landscape Wearing Marlene" by Kay Shuper. The image shows a dress with a patterned skirt, and the text provides a description of the exhibit and the artist's work. The dress is made up of printed photographs, and the article describes the juxtaposition of the dress with the real-world context, questioning the boundaries between art and reality.
This image is a newspaper clipping from "The Boston Phoenix," Section Two, dated October 15, 1974, and it is placed on a light brown or tan-colored backing with two small holes at the top, likely for binding or display. The article is titled "Art: A Cabbage Grows in Cambridge" and is written by Kenneth Baker. The clipping discusses an art exhibition at Harvard's Fogg Museum featuring works of "manipulative photography."
The article describes the work of photographer Lou Brown DiGuilio, who created a cabbage patch using photographic and printing processes. The cabbages are made from muslin with printed cabbage images, creating a hyper-realistic effect. The piece challenges the viewer's perception of reality and the nature of photographic images.
In the center of the clipping, there is a photograph of an artwork titled "Social Landscape Wearing Marlene" by Kay Shuper. The artwork features a tank shirt and a skirt, both printed with various images, including human arms and women. The tank shirt has images of female nudes, and the skirt has images of a girl wearing the shirt.
The article continues to discuss other works in the exhibition, including a piece by Michael Becotte, which depicts a flatbed truck with a carnival apparatus and the words "Space Capsule." The article delves into the themes of the exhibition, such as the manipulation of photographic images and the exploration of the photographic medium beyond conventional photography. The article mentions that the exhibition "Photography Unlimited" continues through October 16.
The image is a photograph of a newspaper clipping featuring an article titled "Art: A Cabbage Grows in Cambridge" by Kenneth Baker. The clipping appears to be from a section of a newspaper, specifically the Boston Phoenix, dated October 12, 1978, on page 13. The clipping has two holes at the top, likely indicating it was once pinned or attached to a bulletin board or scrapbook.
The article discusses an exhibition at the Fogg Museum, featuring the work of photographer Loren DiGuilio. The focal point of the article is a photograph by DiGuilio, which is prominently displayed in the center of the clipping. The photograph depicts a woman wearing a dress made from images of cabbages. The dress is constructed with various photographs of cabbages, which are sewn together to form the fabric of the garment. The woman is standing with her back to the camera, and her arms are crossed, highlighting the intricate details of the dress.
The text surrounding the photograph provides context and analysis of DiGuilio's work. It describes the dress as a piece of "manipulative" art, suggesting that it challenges traditional notions of photography and clothing. The article explores themes such as the manipulation of images, the construction of reality through photography, and the intersection of art and everyday objects.
The article also includes a quote from DiGuilio, who explains his intention behind the piece, emphasizing the absurdity and humor in transforming a mundane object like a cabbage into a garment. The text further discusses the implications of such art, questioning the nature of reality and the role of the photographer in shaping perception.
Overall, the clipping presents a thought-provoking piece of art that challenges conventional boundaries between photography, fashion, and reality, inviting viewers to reconsider the ways in which images and objects can be manipulated and perceived.
The image shows a page from a newspaper with an article titled "Art: A Cabbage Grows in Cambridge." The article is about a photography exhibition called "Photography Unlimited" by Brown DiGuillio, which features images of a cabbage patch. The article discusses the use of photography to manipulate and transform everyday objects, such as a cabbage, into artistic expressions. The image also includes a photograph from the exhibition, titled "Kay Sharper's Social Landscape Wearing Marlene," which shows a person wearing a dress made of photographs.
The image shows the cover of a magazine or publication titled "Art: A Cabbage Grows in Cambridge" by Kenneth Baker. It appears to be from The Boston Phoenix Vector, dated October 11, 1974, as indicated at the top of the page. The layout includes a mix of text and a central photograph.
The image conveys a conceptual art piece that challenges traditional notions of photography and art. The juxtaposition of the cabbage patch with formal attire and the assertive pose of the subject invites viewers to question the boundaries between art, reality, and perception. The article accompanying the photograph provides critical analysis, situating the work within broader discussions of manipulative photography and conceptual art. The overall design reflects the artistic and intellectual spirit of the 1970s, emphasizing thought-provoking themes and innovative visual storytelling.
This image shows a newspaper clipping titled "Art: A Cabbage Grows in Cambridge" by Kenneth Baker, originally published in "The Boston Phoenix Section Two" on October 15, 1974 (as indicated in the header). The article discusses an art exhibition at Harvard's Fogg Museum that features works creating unusual compositions, such as cabbage-inspired art and manipulative photography.
Within the clipping is a central image of a figure, shown from behind, dressed in a distinctive garment displaying multiple smaller photographs or artworks. The article thoughtfully explores themes of reproduction, photography, artistic techniques, and creative expression.
The clipping itself is mounted on a piece of cardboard or paper with two punched holes near the top edge for display or archiving purposes.
The image displays an article clipping mounted on a board with two pins at the top. The title of the article reads "Art: A Cabbage Grows in Cambridge," which is formatted as a newspaper or magazine headline. Below the title is the byline, "By Kenneth Baker." The article appears to have been published in "THE BOSTON PHOENIX" on a specified date, but the year is not completely visible.
The text of the article is aligned in three columns with dense paragraphs, discussing art in a critical and analytical manner, referencing figures such as Giulio Paolini and topics like photography, sculpture, and the concept of realism in art. Several typographical and structural elements typical of printed media from previous decades, such as full-justified columns and serif fonts, are evident.
Dominating the center of the clipping is a black-and-white photograph of a figure piece by the mentioned artist, which visually interrupts the flow of the text. The artwork features a life-sized sculpture of a female form from the waist up, with arms raised and head not visible within the frame. The figure is wearing a dress adorned with a repeated cabbage motif, and the background of the artwork is blank, which emphasizes the silhouette of the sculpture.
The bottom right portion of the article includes a caption with text that is too small to read without magnification. This part of the clipping provides further context for the photograph of the artwork showcased in the article. The overall composition, including the way the article is pinned to the backing board, evokes a sense of traditional art presentation and critique, possibly for archival or educational purposes.
The image shows a newspaper article titled "Art: A Cabbage Grows in Cambridge" by Kenneth Baker. The article is about a photographic art exhibit at Harvard's Fogg Museum by Lou Brown DiGuilio, who created a piece involving cabbages transferred onto muslin fabric with photo silk-screening, then reconstructed using cutting, sewing, and wiring. The article discusses the idea of "manipulative photography," exploring the boundaries between photographic representation and reality.
In the center of the article, there is a black-and-white photograph of a person seen from the back, wearing a skirt made of multiple photographic images. The skirt appears to be a compilation of different black-and-white photos arranged in panels. Below the photograph, there's a caption that reads "Kay Shuper's 'Social Landscape Wearing Marlene'."
The article elaborates on themes of photographic manipulation, the nature of image perception, and the creative exploration of photography beyond traditional means. The publication is from The Boston Phoenix, dated October 15, 1974, and located on page eleven of section two. The newspaper clipping is mounted on a brown backing board with two punched holes at the top.