Golden Specific, Nicole Cherubini’s exhibition at Samson Projects, is meditative. The gallery’s white box is punctuated with caramel, turquoise, and terre verte glazes, peach spray paint, and a red plastic bucket. Cherubini’s sculptures color the room. The show includes six…
Thirty years ago prominent critics, historians, and artists testified in court on behalf of sculptor Richard Serra’s Tilted Arc, a seventy-three ton steel slab made for the Federal Plaza in Lower Manhattan. What Serra considered an opportunity for aesthetic challenge…
My first introduction to Matt Noonan’s paintings was an eclectic arrangement of oils with dense imagery and rich colors on wood or canvas in the group exhibition Arcadia: Thoughts on the Contemporary Pastoral, curated by Steve Locke and recently on…
“Imagine a vast sheet of paper on which straight Lines, Triangles, Squares, Pentagons, Hexagons, and other figures, instead of remaining fixed in their places, move freely about, on or in the surface.” Thus begins Edwin Abbott’s 1884 novel Flatland: A…
Paper is the surface, the substrate, the thing acted upon. It buckles (sometimes literally) under the weight of an artist’s wishes, absorbing paint, water, ink, paste. Though it groans with the occasional curl, crease or tear, paper is usually cooperative,…
“[Women] are sex objects, spoils in the war between white males and black males over which group will dominate the planet.”[1] Much of Persuasions 1990—2015, the mid-career survey of Rhode Island-based visual and performance artist James Montford (recently on view at…
Welcome to Six Block Rule, a series of conversations considering art openings, panels, exhibitions and more happening in the Boston area. Titled after the idea that viewers should take that distance before making critical comment, Six Block Rule seeks to…