Cleaning up my desk, I came across the following mysterious note, written on a sheet torn out of a small spiral notebook: “Now I see what you mean with the question you had about the stones outside who is different on every sides. I have asked but no one could give some answer. Maybe they […]
During the late ‘60s and early ‘70s, Gordon Matta-Clark did what many of us think might be cool, but never dare try to pull off.
Boston-area college art museums go where many mainstream exhibition spaces fear to tread.
Given the growing inclination, in the name of security, to regulate public expression, is it any wonder that protest art is scarce?
Edgar Degas once said that painting should be akin to committing a crime. And many Americans saw creation of some of the most important works of American art as just that—roguish, cunning and wicked—in short, criminal. Visual Shock: A History of Art Controversies in American Culture by Michael Kammen. Penguin Random House, 480 pages, $18. […]
By Peter Walsh When a new contemporary art museum gets up on its feet, it typically constructs a slick, fashionable new address for itself and leaves its old, recycled quarters like a student couch at the curb. But is that always a wise decision? Sometimes it makes sense to put new wine in old bottles. […]
By Milo Miles November 18th, 2005 World-famous jazz impresario George Wein went to Boston University. I went to Boston University. The Boston University Art Gallery is currently hosting the show “Syncopated Rhythms: 20th-Century African American Art from the George & Joyce Wein Collection.” Boston University is behind this blog. None of that matters: it’s still […]
By Adrienne LaFrance February 22nd, 2006 Chances are, when you think of interactive art the first thing that comes to mind is the lineup of cranks to turn, buttons to press, and microscopes to peer into at a children’s science museum. But the exhibition COLLISIONnine BOTbits (at Wellesley College though March 8, 2006) proves that […]
By Adrienne LaFrance March 13, 2006 It’s not an area of Boston that tends to attract art-goers. And the works are not by those normally considered artists. “Visual Voices of Detained Youth” was on display at the Rhys Gallery in South Boston through March 4, 2006 but the implications of the exhibit live on. The […]
This is an intelligent exhibit, not just conceptually but in that it requires the viewer to actively make connections while absorbing the art.