Browsing: Reviews

Feature Jessica Rosner
Manuscript: Broken
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Review: Jessica Rosner at Yellow Peril Gallery

Jessica Deane Rosner can’t discuss the inspiration for her latest exhibit. It might suffice to say that, last September, she experienced a terrible and life-changing event. It forced Rosner to reconsider her self-concept as someone bold and brave. The aftermath…

Feature Anila Quayyum Agha. "Intersections," 2012. Photo courtesy Peabody Essex Museum.
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Intersections: Anila Quayyum Agha

Conceptual art is often too subtle to reach the edges of our preconceptions, or it is so blatant it prevents our own imaginative leaps. Anila Quayyum Agha’s “Intersections” (2012, laser-cut steel, light bulb), recently on view at the Peabody Essex…

Feature Theophile Alexandre Steinlen
The Cat in Winter, 1909
lithograph on cream wove paper
Sarah C. Garver Fund
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MEOW at the Worcester Art Museum

From 1759 to 1763, writer Christopher Smart composed the sprawling poem Jubilate Agno while confined to an asylum. The best-known portion of the text is a 74-line segment in which Smart expounds on the ways that his cat is an…

Feature Installation view, Liz Deschenes, Institute of Contemporary Art, Boston, 2016. Photo by John Kennard. © Liz Deschenes
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Field of Vision: Liz Deschenes at the ICA

In his quintessential text on vision, Techniques of the Observer, author and art historian Jonathan Crary notes: “The mind does not reflect truth but rather extracts it from an ongoing process involving the collision and merging of ideas.”(1) The nineteenth-century…

Articles Arthur Henderson, "Sex Not Sex" at VERY, 2016, Install Shot. Photo: Stewart Clements.
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Arthur Henderson: Sex Not Sex

The sculptures in VERY’s inaugural show, Sex Not Sex, inhabits the space in much the same way as the patrons at the opening: some sitting, some standing, others propped against the wall. In a gallery that feels more like a…

Feature Emily Kam Kngwarray, "Anwerlarr angerr (Big yam)," 1996. Synthetic polymer paint on canvas. National Gallery of Victoria, Melbourne, Purchased by the National Gallery Women's Association to mark the directorship of Dr. Timothy Potts, 1998, 1998.337.a–d. © Emily Kam Kngwarray/© 2015 Artists Rights Society (ARS), New York/VISCOPY, Australia.
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Picturing Cultural Memory in “Everywhen”

“Painting is not merely illustration, but real-time communion with ancestors,” reads a wall text in Everywhen: The Eternal Present in Indigenous Art from Australia a show at the Harvard Art Museums up through September 18. Spanning several decades of work…

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