Visual Arts
With this one project, Boston has gone from a public art also-ran community to a serious cultural player.
Back To Fort Scott, a compact, affecting exhibition of meticulously printed black and white photographs, is like a grainy, retro speed bump between the museum’s adjacent galleries.
For these artists, African origin is the foundation that should guide the development of Cuba’s national personality and consciousness.
In an architectural sense, the Edward M. Kennedy Institute is too quiet a visual statement.
The strong connections between Andy Warhol’s early drawings and his later Pop-pieces become clear as you walk through the exhibition.
The photographer and the exhibition both make much of his outsider status and radical departure from the classic, reserved aesthetics of American art photography.
Nothing takes center stage except the canvases by Helen Frankenthaler, which invite comparisons to every other piece in “Pretty Raw” and demolish the majority of them.
Fuse Commentary: The Value of Browsing and Discovering That the “Shit Must Stop”
Sometime you go in search of one thing, and you stumble upon something else. And maybe that newly discovered thing is something wonderful.
Read More about Fuse Commentary: The Value of Browsing and Discovering That the “Shit Must Stop”