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.
Our critics sound off on some of their most striking visual art experiences this year.
With MOCK, the artist has made made an exceptionally powerful statement, conceptually and physically, about Boston’s increasingly dire affordable housing predicament.
Watershed is an unadorned but stunning addition to the offerings at the deCordoba Sculpture Park and Museum.
Judy McKie draws on a personal mythology in which animal and plant forms become abstracted yet recognizable, anthropomorphic while remaining strangely primeval.
There have been times in the MFA’s past when it hasn’t lived up to its educational mission, when it has pandered to the whims of the wealthy — particularly its fat cat benefactors.
The hit 1969 song “The Spirit in the Sky” by Malden’s own Norman Greenbaum is the inspiration for one of several new works of public art.