Visual Arts
What Ain Gordon’s play demonstrates is that even when records are indecipherable and incomplete, we still have the right, and perhaps the responsibility, to imagine what happened.
This exhibit dedicated to Diaghilev and The Ballets Russes is well worth a trip to Washington D.C. because of the amazing objects on display.
Despite the show’s darkness, “East 100th Street”‘s exploration of Harlem in the ’60s is in many ways a testament to the endurance of love.
The show was like topping a delicate wedge of artisanal cheese with a handful of artisanal trail mix. Both the Christian Science Plaza and the sculptures themselves are exquisite on their own, but together the experience felt disjointed and oddly incompatible.
The influence of two centuries of dandies on fashion — and the artful, strategic, ready-for-the-paparazzi self-presentation at the heart of modern celebrity — is on wide-ranging and colorful display in the Rhode Island School of Design Museum exhibit.
It’s notable and heartening when informed critical opinion manages to stop a juggernaut in its tracks.
Respect for the building and its makers, respect for the historical study of art, respect for the visitor’s relation to the displays. These are qualities that I find in the New Rijksmuseum and missed in the old one.
In a modest tweak of Dorothy Fields’ lyrics to the famous Jerome Kern song, this weekend will be Boston’s chance, via the Design Museum Boston, to sit yourself down, dust yourself off, and start all over again.
Visual Art Commentary: Silence Is Complicity — Why Museums Must Use Their Voice to Defend Democracy