Visual Arts
“The MFA is a place that really matters to a lot of people, and it is the safety of this place that matters and its commitment to excellence. These are things that must never be compromised.”
This exhibition is evidence of the venerable museum’s interest in expanding its collections so that more voices and perspectives can contribute to our understanding of our own complicated history.
Phyllis Ewen ponders humanity’s perilous relationship with the earth, expressing her concerns through her artwork.
Every subject in Jim Dine’s richly rendered work seems to edge towards something other than itself, deeper and more personal.
I wish this catalogue spelled out John Singer Sargent’s professional stance as a “juste milieu” painter more methodically. That term refers to those eager to be associated with new stylistic tendencies yet careful not to transgress the establishment’s norms.
While he paints, Stanley Whitney listens to and is inspired by jazz. Miles Davis’s album “Bitches Brew” is his constant companion in the studio.
Reluctant to explain the meaning of her art, Leonora Carrington chose to let the magic and mystery of her inner life reveal itself through the imaginary animal/human creatures and fantastic landscapes of her paintings.
“Visionary Projects” at the Boston Athenaeum is a captivating exhibition of Frank M. Costantino’s work, a display of over 80 drawings and watercolors.
While offering a window into artist Fabiola Jean-Louis’s examination of her cultural and personal identity, the exhibit also provides a deeper understanding of the Haitian struggle for freedom.
The exchange proved to be as fruitful for the artists as it was for the Shakers.
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