Michael Brenson


HENRI CARTIER-BRESSON: PEN, BRUSH, AND CAMERAS,” at the Minneapolis Institute of Arts, was the first exhibition I’ve seen in which all aspects of Cartier-Bresson’s work—191 paintings, drawings, and photographs, as well as films he directed on war-torn Europe in 1937 and 1945—were represented. The totality amazed me. With all he has seen in his eighty-eight years, Cartier-Bresson’s respect for basic human emotions has never been shaken. Nor has his distrust of institutional power. Or his faith in the value of a perception and its potential to pack within it an entire world. The retrospective showed that, far more than pioneering photojournalist or a great photographer, Cartier-Bresson is one of the indispensable artists of the century.


There is enough short-sightedness and self-serving ambition built into BEVERLY PEPPER’s Manhattan Sentinels to make it a model of bad

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