Newest Features
Jacqueline Ott, Lisa Perez and Sean Riley conceived of It’s What You Don’t Say, now on view at The Wheeler School, over a year of conversations and visits to each others’ studios. The result is a harmonious group show, reflecting on abstraction, geometry and evidence of the artist’s hand. The three embrace their conceptual and aesthetic similarities, and it is apparent that they learned from each other, built off of their conversations and balance each other well. Importantly, each of the artists maintains a strong individual voice within the exhibition: Perez’s white…
Gallery Director Deborah Davidson’s We Dream | Beauty Beyond and Beneath gathers together an ensemble of artists to present visions of beauty broad in scope and varied in manifestation. The group is comprised of professional artists who are represented by various Boston galleries — Gallery NAGA and Kayafas, to name a couple — and are the first group to be featured in Suffolk University’s new gallery space. Using their own visual languages and media, they portray the relative nature of beauty and our personally subjective and historically inherited ways of constructing our…
Pat Falco’s latest project, a retail intervention called “Luxury Waters” at Open Gallery in Boston is a faux marketing and sales office for an imaginary 62-story luxury development in Fort Point Channel. The building, as conceived by the artist, is a version of a glass-encased triple-decker, a building style familiar to many Boston neighborhoods. While parodying the luxury real estate market, the project is a pointed critique of a housing market that is excluding more and more people, destabilizing neighborhoods, and changed the texture and feel of a city he grew up…
At the center of Sandra Erbacher’s exhibition is an unsettling discovery found in an unlikely place. While flipping through the book Office Furniture from 1984 on adjustable desks and modular furniture, she found an image of men and women seated around a swastika-shaped desk. Erbacher, who was born and raised in Germany, was so disturbed and intrigued by the image that she did archival research to try to find its original use in product catalogues of the manufacturer, Krueger Wisconsin. Unable to find it or learn the designer’s intentions, the image is…
Despite an increase of U.S. citizens traveling to Cuba in the recent past, the popular American image of that island nation remains a combination of ‘50s cars and fine cigars, symbols of a discourse stuck on insularity and trade restrictions. Northampton, MA photographer Mark Guglielmo is more interested in how Cubans see themselves. Cubaneo, his exhibition of large-scale “photo-mosaics” on view through October 27 at Villa Victoria Center for the Arts’ La Galería in Boston, takes its title from a term used by Cubans to reference ways in which their contemporary identity…
“A book, or a work of art [culture] cannot by itself change the world, but by asking the questions that matter, it might attempt to be an act of articulation against violence, both the brutal and casual kinds. It might aspire to starting a conversation, through which together we might find common meaning and words that free.” -Jeff Chang For this digital artist residency with Big Red & Shiny I will produce a series of essays that explore different emotions I’ve been processing and trying to articulate visually in America’s Post-Obama Era.…
In a self-described “series of dubious choices” and “earnest efforts,” artists Emmy Bright and J.R. Uretsky have populated the Distillery Gallery’s space with vibrantly hued sculptures, colorful sand, and self-effacing text in their show Feeling Feeling. True to its title, the exhibition is a tangle of enervating emotions and self-deprecation. A bright mound of crocheted yarn greets the viewer on entering. At the top, a small television set peeks out through the bright strands, acting as the lone anatomical reference. A variety of faces flicker across its screen, some dazzled and others…
In her solo exhibition at Kingston Gallery, Fare Well: The Art of Ending, on view August 30 – October 1, Kathleen Gerdon Archer’s photographic work demonstrated a masterful ability to blend abstraction, process, and place. Gerdon Archer credits the inspiration for these photographs to rock formations left by receding glaciers that once covered New England. To create the final product, she collects various objects and freezes them, according to Kingston’s website, “layer by layer, to build a conglomerate [structure].” After these new arctic objects are created, she photographs them as they melt.…