Browsing: sculpture

Reviews Nari WardSun Splashed, Listri Libreria, 2013Chromogenic color print83 7/8 x 63 inches (213 × 160 cm)Photographed by Lee JaffeCourtesy the artist and Galleria Continua, San Gimignano, Beijing, Les Moulins, and Havana© 2017NariWard
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Piecing Things Together: Nari Ward at the ICA

Walking into Nari Ward’s retrospective Sun Splashed at the ICA Boston, you are greeted with calypso music piping out of a bright yellow bodega awning that reads HAPPY SMILERS in kitschy font. Hanging bottles of colorful Tropical Fantasy fruit soda…

Feature photo: Alyssa Coffin
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See It Before It’s Gone: Allison Paschke at AS220

Providence artist Allison Paschke can be disobedient in museums. Sometimes, she’ll find a sculpture or object irresistible, and smooth her hand carefully over its surface. In her latest exhibit at AS220 Project Space, Paschke extends this “mischievous glee” to her…

Feature Video Still from Handlers
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See It Before It’s Gone: Cabell & Foster at GRIN

In One Makes an Instrument of Themselves, and is Estranged Also, collaborators Mimi Cabell and Lindsay Foster probe the “the commercialized self, the marketized private life.” As today’s corporate landscape ostensibly reorients itself toward workers’ happiness, Cabell and Foster remind…

Feature Cooper_Diago_Exhibit_(MelissaBlackall)_-11
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ISSUES OF POWER: Resilience and Healing

“With my work I reaffirm black cultural values in the contemporary world.” – Juan Roberto Diago Durruthy, 1998 Curated by Alejandro de la Fuente, Diago: The Past of This Afro-Cuban Present at The Cooper Gallery presents Juan Roberto Diago Durruthy’s first…

Feature IssuesofTrustII-bench
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Scaffolding For Future Repairs: A Goldstein Reflex

I first experienced Audrey Goldstein’s work at the Museum of Fine Arts (Boston, MA), after she had won the SMFA Traveling Fellowship in 2007. Goldstein exhibited two healing machines: “Generosity Generator” and “The Medicine Cabinets”, which investigated our internal systems,…

Feature Anna Shapiro
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Review: Anna Shapiro at AS220

Pregnancy and parenting can create serious changes to an artist’s process. As installation maestro Sarah Sze elaborated on a 2012 exhibit in London: “The pieces in this show appear to measure space, or time, and now that I have two…

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 eager to talk about all things abstraction, Richard Serra, physicality,…

Feature Steve Locke
The School of Love installation shot
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School of Love: Interview with Steve Locke

Steve Locke has two concurrent exhibitions taking place at Gallery Kayafas and Samsøñ called “FAMILY PICTURES” and” SCHOOL OF LOVE” The two exhibitions, which are on view now and run through November 26th. We spoke recently. Robert Moeller: There is…

Feature Tory Fair, detail from "Campfire," 2016. Installation at VERY gallery, mixed media, 9X8X19.' Photo Credit: Stewart Clements.
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Paperweight: An interview with Tory Fair

In the months leading up to Tory Fair’s latest show, Paperweight at VERY gallery, VERY director John Guthrie and I made two studio visits to view the work in progress. On the first occasion, I met John outside a large wooden…

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…

Feature Robert Chamberlin, Marble Test 1, 2016, porcelain & mason stain.
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Interview with Robert Chamberlin

I followed Robert Chamberlin’s artwork for about a year when his solo exhibition at Miller Yezerski opened in January 2016. I arrived during the peak of First Friday festivities to find an intimate space of the gallery’s rear space packed…

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