There’s a looseness, a jagged brio that gives the images in ¡Printing the Revolution! a visual bang — a kind of primal pop.
Visual Arts
Visual Arts Review: Letter from New York – Goya, Grief, and Grievance
Museums, now reopened in New York, are trying to coax visitors into their galleries. With two exhibitions, it’s working.
Visual Arts Review: Trump Likes Minimalism? Really?
All four budgets that Donald Trump and his sycophants sent to Congress had nada for the arts and humanities.
Visual Arts Commentary: Preservation, Two Cases of To Be or Not to Be
Today’s increasingly heated argument about architectural preservation revolves around discerning which pieces of the past are worth saving, which buildings are valuable to our present and future.
Visual Arts Review: Two Public Art Projects in Boston — Provocative Visual Expressions of the 21st Century
Steeped in technology, non-traditional public art is about sparking conversations about visuals as well as playing with contemporary aesthetic perspectives.
Visual Arts Commentary: An Enduring New England Design Influence — The Shaker Style
As we move into the 21st Century, with the Climate Crisis and consumerism on the rise, the Shaker’s “less is so much more” sensibility takes on even more significance, practical as well as spiritual.
Arts Remembrance: Art Critic and Historian Barbara Rose
At a time when ambitious women of any sort were often harshly criticized for pursuing a professional career, Barbara Rose only forged on.
Visual Arts Commentary: America’s Historical Monuments — Under Reconsideration
The Dwight D. Eisenhower Memorial is the latest product of our heated social/political/cultural debates about America’s memorials and their vision of the country’s past, present, and future.
Visual Arts Commentary: Digital Media — Public Art Is a Bridge to Our New Normal
In a time when everyday seems like Wednesday, creative use of new media is a visual and experiential bridge to our new and hopefully innovative normal.
Visual Arts Book Review: Pasolini and Fluxus — For and Against the Avant-Garde
Long live Fluxus, with its questionable boxes of ephemera, its baggy bags of soil, and its mad prankster sensibility.