This is an invaluable gathering of interviews, an impressive excavation of institutional memory that not only recognizes the MFA’s grandeur but its many deficiencies as well.
The curator’s intent is to stretch and subvert received notions of ceramics with their overtones of craft and functionality
Mario Diacono’s Boston shows were legendary.
The Ruskinian mantra of “truth to nature” was eventually upended by the development of digital imagery and the agile manipulations of Photoshop.
Despite the growing number of artists in the Berkshires, there seems to be an effort, among large cultural institutions and the major media, to pretend that they are not around.
About the post-Reagan era, Boston Phoenix and Boston After Dark editor, Arnie Reisman, observes: “Everything went to sleep, and while we were sleeping, the Republican Party grew six more heads.”
When he is at his best, few can match Renoir’s charm and popular appeal.
Perhaps this review is an autopsy for which I offer an apology.
This crowd-pleaser of an exhibition, dedicated to an accessible, beloved artist, is a gift to the citizens of Boston and Everett, as well as to the general public.
One sees how the keen observation and “truth to nature” that critic John Ruskin espoused was put into action by John Constable and J.M. W. Turner.