Author Leah Triplett Harrington

Leah joined the Big Red and Shiny editorial staff in 2013 and served as Blog Editor through 2014; she currently oversees BR&S's editorial focus. A Boston-based curator and writer focused on modern and contemporary art, Leah has contributed catalogue essays to CUE Art Foundation (New York) and Gallery Bergelli (California), as well as articles to a number of publications, most recently Burnaway, Harper's Bazaar Art, Hyperallergic and Pelican Bomb. She works as Director of Programs & Exhibitions for Fort Point Arts Community.

Feature Parallel Universe by Leah Piepgras at GRIN, October 22 - November 19, 2016.
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PARALLEL UNIVERSE: Leah Piepgras

Leah Piepgras was finishing final preparations for her solo show, Parallel Universe, now on view at GRIN when we had the following conversation. It was early October and we were…

Articles Samantha Fields, from Meditations on the Tide. Courtesy of Sue Murad.
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Art in Service #4: Documentation

The question of documentation is rooted in the history of the avant-garde. Think of Dadaist or Surrealists recording their work via sound or the nascent technology of film. Think of…

Articles Antony Gormley, Chord (2015). Courtesy of the artist.
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Chord: Antony Gormley at MIT

Known for his work that confronts the fragile limits of perception and physicality, British sculptor Antony Gormley has confronted the human body throughout his career. In Chord (2015), a new…

Articles Beyond the Bust
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Beyond the Bust: Defining Our Public Monuments

In his seminal study on the subject, The Texture of Memory: Holocaust Memorials and Meaning, James Young distinguishes monuments from memorials as “material objects, sculptures, and installations used to memorialize…

Feature CaitieMoore_forbert_zine
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Elsewhere: Caitie Moore

Boston is a transient city. Each fall, legions of artists enroll in graduate programs throughout the city to nurture their talents and connections, and approximately two years later, many move…

Feature Bahar Yurukoglu, Roll Out, 2015.
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Elsewhere: Bahar Yurukoglu

Boston is a transient city. Each fall, legions of artists enroll in graduate programs throughout the city to nurture their talents and connections, and approximately two years later, many move…

Feature basic theory
(pretty.much.nothing.) found objects,mixed media, 2015
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Elsewhere: Natalia Afentoulidou

Boston is a transient city. Each fall, legions of artists enroll in graduate programs throughout the city to nurture their talents and connections, and approximately two years later, many move…

Magazine Ethel Reed, Folly or Saintliness, c. 1895

Lithograph, 20 3⁄8 x 14 15⁄16"

The Trustees of the Boston Public Library, Print Department
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On Craft and Modernity

Declared “Photographer’s Row” in 1914 by Photo-Era Magazine, Boylston Street bustled with artists of all media in the decades just before and after the turn of the 20th century. With…

Feature Wendy Richmond, Overneath cover. 2002-2003.
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An Exchange with Wendy Richmond

I had only seen Wendy Richmond’s work once when I called her one morning in the spring of 2012. I knew of her work shown a few years ago at…

Magazine Installation view, Cuban Virtualities.
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Review: Cuban Virtualities

The second group show of contemporary Cuban art to take place in Boston this fall, Cuban Virtualities: New Media Art from the Island (at Tufts University Gallery September 5 through…

Magazine Last Seen… Installation View
Photo: Stewart Clements Photography
© Sophie Calle / Artists Rights Society (ARS), New York / ADAGP, Paris.
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Review: Sophie Calle: Last Seen

Over the last twenty-three years, the Isabella Stewart Gardner Museum has enjoyed a lasting, reciprocal relationship with French artist Sophie Calle. While exhibiting work at the ICA/Boston in 1990, Calle…

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