Visual Arts
The Shores of Bohemia is clearly a labor of love, and a worthy one. But John Taylor Williams’ idea of “a group portrait,” however attractive, proves impossible to pull off.
Three recent documentaries explore the worlds of three masters of disparate but complementary art forms: photography and cinema, sculpture and painting, and toilets.
A Memorial to Ice at the Dead Deer Disco does not demand political action from its audience. Instead, it allows viewers to sit within the stark reality of the present, and perhaps find some community within the shared reality that the space creates.
Grids come into these woven pieces with a strange humility, disarming us with repurposed materials and precious handiwork, domestic scenes and visionary tales.
Are visitors supposed to feel some sort of guilty pleasure if they find Mary Ann Unger’s Across the Bering Strait powerfully mesmeric?
“Ukrainian culture — Ukrainian language, Ukrainian books, literature, poetry, arts — is the testimony of our existence through all these centuries … It is still here, and we try to save it.”
Rodin in the United States: Confronting the Modern is the show of the summer in the Berkshires — remarkably extensive, with 25 works on paper and 50 sculptures in terra cotta, plaster, marble, and bronze.
MIT’s loss is Harvard’s gain.
Believe it or not, Boston — the home of stick in the mud, architectural and decorative conservatism — was the initial epicenter of the Arts and Crafts Movement in America.
Book Review: “As It Turns Out” — Not Enough About Edie and Andy
Alice Sedgwick Wohl has a disturbing tendency throughout the book to back away from her points even as she makes them, as if afraid she will find herself trapped in some politically incorrect cul de sac or just a bad neighborhood.
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