Visual Arts
Sue Yang’s eclectic solo exhibition explores the intersections of her multicultural identity through digital and organic art — each medium represents a different facet of the artist’s contemplative selfhood.
Author Carol Verburg covers a sinfully neglected part of Edward Gorey’s career –- the books on his art deal cursorily, if at all, with his forays into theater as a director, designer, actor, and writer
“Through the Looking Glass” is a glorious celebration of American fine art and a much-needed boost to the MFA’s Americas wing collection. Amid the drab puritanical portraits and the remarkably unremarkable display of colonial dressers, Chihuly’s glassworks are testaments to the beauty of vivacity. Chihuly: Through the Looking Glass. At the Museum of Fine Arts,…
Updated Local artist, curator and arts educator Susan Erony, whose text piece on silk “To Gloucester with Love” is a setting of a Charles Olson poem, gave a model of an arts center talk on the evolution of text as visual art.
The ostensible theme of the exhibit “The Last Gesture” might be best regarded, then disregarded, as critic Charlie Finch’s attempt to channel his roiling cognitive slurry. The work itself doesn’t need it.
Before we hit the ground, I reversed my attitude and became a fan of the restoration of the Dutch royal palace on Dam Square, Amsterdam. I could not fault the decisions that had been taken.
What the artist didn’t count on was the popularity of the Kendall Band, coupled with its fragility relative to the strength and number of its users, would result in frequent breakdowns. The Kendall Band was the only interactive piece of public art in the MBTA’s “Arts on the Line” program, and the agency had no…
Thirty years of Eric in the Evening, jazz in public spaces and libraries, jazz ensembles and their social networks, and getting the word out about jazz. (First of a three-part series for Jazz Week.)
To look back and forth from “Las Meninas (after Velázquez)” to the mirror that reflects it is to experience, simultaneously, a joy in David Ording’s accomplishment and a longing based in recognition of its source, which is love—of Velázquez, of labor, of painting.
Though unquestionably didactic, Skip Schiel’s images are also haunting glimpses of the perilous nature of life in Gaza. The photographs never feel invasive or forced; they simply capture moments of intimate truth between photographer and subject.
Visual Art Commentary: Silence Is Complicity — Why Museums Must Use Their Voice to Defend Democracy