Visual Arts
The best of Kageyama Kōyō’s photography contains a nuanced dramatic power that is both aesthetic and political.
M.I.T.’s Sean Collier Memorial does not make a full-bodied artistic statement — it does not elicit a strongly felt aesthetic or visceral reaction.
Rose Marasco’s strong sensibility is always at work, searching for contrasts to capture in her photos.
“Pentalum” is an example of soft, temporal architecture: its geometric sculptural forms push against the boundaries of an interactive environmental art installation.
Biographer Annie Cohen-Solal is perhaps strongest on one thread of Mark Rothko’s narrative: his experience as a Jewish immigrant.
Patrick Dougherty’s Stickwork is a remarkable piece of public art.
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.
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.
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