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It transcends nostalgia and moves into the realm of emotional engagement and sometimes, cultural iconology, despite all the Zombieland movie jokes.
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Instead of religious iconology, Cartier-Bresson finds playful expression in the Surrealistic image of a pair of high-heeled shoes shaped like a heart.
WSJ: Review: Two Sides of the Same Coin | 'Henri Cartier-Bresson/Paul Strand, Mexico 1932-1934' at Fondation Cartier in Paris
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On the first floor, Strand's uncompromisingly austere photography (from Spanish, North American and Mexican collections) offers a hard-bitten "collective portrait" of small-town Mexican life told through photos of individuals, landscapes, studies of architecture and religious iconology.
WSJ: Review: Two Sides of the Same Coin | 'Henri Cartier-Bresson/Paul Strand, Mexico 1932-1934' at Fondation Cartier in Paris