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“Devices of Wonder” Getty Center Through
Feb. 3
People often think of pieces of art as creative works that rest
outside the everyday world. “Devices of Wonder,” on
exhibit now at the Getty, transcends that definition. It melds
science and art, practicality and the imagination. At first glance
the pieces seem fascinating, even wondrous; however, after
lingering around the odd trinkets the discovery is made that they
aren’t amazingly interesting. On the contrary, they are a
little dry. The pieces do provide many optical illusions and
eye-catching sights, but they don’t endear themselves to the
onlooker in any genuine way beyond the scope of flash-in-the-pan
visual thrills. More science-oriented folk, however, may truly
connect to the pieces, many of which are touted as rare missing
links between generations of technology. The exhibit would also
satisfy the curiosity of those interested in art or science from a
historical perspective. Art for art’s sake though, this
exhibit is not. The pieces are often far from aesthetically
pleasing. Works like a room of mirrors and mammal chromosomes on a
wall are intriguing, as abstractions of regular life, but do not
provide much opportunity to find spiritual depth in the same way as
other forms of art can. The marriage of art and science comes to
fruition best in works like a crocodile hanging from the ceiling,
which seems out of place in the context of the exhibit but contains
a certain power in its use of metals and in its lack of moving
parts.
“Manuel Alvarez Bravo: Optical Parables”
Getty Center Through Feb. 17
 The photograph can capture almost anything in almost any
position, and can even distort those images to its own ends. Why
then would anyone choose to shoot what appears to be ordinary,
everyday, maybe even newsworthy pictures, instead of heavily
manipulated artistic masterpieces? One look at these black and
white photos, and “Aha!” say those who know.
Over 100 of Manuel Alvarez Bravo’s photographs are now on
exhibit at the Getty. The photos are often stark and moody, seeming
almost mundane at first glance, but they are revealed as rich and
textured on further examination. The majority of Bravo’s
photography is not heavily manipulated, and while this occasionally
creates a feeling of ordinariness, it also allows viewers to bring
their own interpretations to the art in a way that other
artists’ work do not. The photographic works at the Getty
include many unique pieces of Bravo’s which have never before
been reproduced. Bravo took many pictures of plants, in which their
shadows are very prominently featured. The shadows at times seem
more dark and solid than the plants themselves, making for a very
interesting viewing. Bravo’s work with women is also
non-traditional. There seems to be a palpable motif of danger
surrounding the women, but it is danger coupled with a certain
common sexuality that takes the pieces to a deeper level. Another
thing that unites all of the pieces in the show is their relation
to Bravo’s homeland of Mexico. Yet the show is not hampered
by this fact. Rather, the pieces seem unified by their similar
topography, while Bravo’s choice of subjects within his
culture prove universal enough for all to relate to in some
degree.