How, as an African-American visual artist, do you represent something that no one wants to think about, much less look at? Kara Walker’s solution is ultimately an aesthetic one.
The Ruskinian mantra of “truth to nature” was eventually upended by the development of digital imagery and the agile manipulations of Photoshop.
It seems quite fitting for an artist of light to leave a gallery show filled with his distinctive multimedia light art. Memories of John Powell, like his art, will continue to glow, brightly.
I recommend this show for Lucian Freud’s highly polished craftsmanship, but his wry game of psychological hide-and-seek is not all that satisfying.
By digging deep into Thomas McKeller, the Gardner Museum has not only resurrected a lost figure (and lost music, and “lost” art) but revealed and contributed to an ongoing history.
Go feast your eyes.
Despite the growing number of artists in the Berkshires, there seems to be an effort, among large cultural institutions and the major media, to pretend that they are not around.
Ledelle Moe’s work is fresh, innovative, and contemporary — yet deeply rooted in a primal humanism that courses through the millennia of every continent and culture.
This fascinating exhibition surveys the entire history of the National Academy membership and, almost incidentally, provides a potent cross-section of the history of American art and its discontents.
The Legacy Museum draws on a passionate and visceral mix of architecture, graphics, text, art, music, video and spoken word to prove that — ever since the time of slavery — white views on race have distorted the presumed fairness of our legal system.