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Arnold Trachtman, Isabelle Higgins, and Barbara Ishikura are all “Boston Modern” artists who never stray far from communicating all-too-human joys and worries.
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For all of “Suitable Flesh”’s indulgence in B-movie schlock and gross-out gore, the film’s pulsating sexuality becomes its strongest asset.
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“I go out on the road and the clubs are full everywhere I go,” Peter Case gratefully acknowledges. “People come out to hear me play. It’s an amazing gift to have that.
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In this episode of the podcast, Elizabeth Howard talks to poets Diane Alters and Edward Hirsch about the ways we think about grief, publicly and privately.
Read MoreA fantastic film? Not really. “In the House” is sometimes ingenious, but all the main characters are cold, arrogant, and off-putting.
Read MoreArts Fuse critics select the best in film, theater, music, dance, visual arts, and author events for the coming week.
Read MoreArts Fuse critics select the best in film, theater, music, dance, visual arts, and author events for the coming week.
Read MorePart of the nostalgia of seeing Joan Baez and Sting was the opportunity to relive the experiences of attending their concerts at a more youthful time in our lives.
Read MoreThe late Tommy Ramones’ drumming was as key as any component in the band’s makeup.
Read MoreThe world of tenors has expanded exponentially, it would seem, since the days when Luciano Pavoratti and Placido Domingo dominated the big tenor roles and the attention of the media and opera-loving public. Domingo, astonishingly, is still singing brilliantly, conducting, and running an opera company, but recently there have been a good half dozen excellent youngish tenors singing at the Met, including the fabulously gifted lyric tenor Matthew Polenzani.
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Visual Arts Commentary: John Singer Sargent — A Particular Sort of Loner