Newest Features
By CARL GUNHOUSE Trashing the Museum of Modern Art has become a sport for art critics since it reopened in 2004. Jerry Saltz complained that MoMA focused too heavily on the greats of art history, presenting a predictable and homogenized view of art history [1]. The Village Voice recently went so far as to assert that MoMA was unable to put on even the most basic of winning art shows and calling the recent “What is Painting?” exhibition an “emotionally-draining” experience [2]. Yet since the reopening, MoMA’s photography department has consistently presented…
By JOHN RUGGIERI In the museum retrospective of Rudolf Stingel, the quiet drama in his work is heightened by scale and context. The art world has been wrestling with the idea that “Painting is dead” for quite some time. Some artists have succeeded by redefining painting as a radically sculptural medium. In Stingel’s smartly installed twenty-year survey, we are given a bounty of painting and some non-painted products of what we are told are Stingel’s wrestling with just a teensy little topic – “painting’s validity” – by richly injecting his self, footsteps,…
By MATTHEW NASH A few years ago, I gave my father a book of Dilbert cartoons. He gave it back. To me, Dilbert is an hilarious sendup of corporate culture, showing the ridiculousness of cubicle life and how impersonal it can be. I think that Dilbert is a funny reminder of why I chose to be an artist, and an affirmation that the culture I have rejected is both morally vapid and an environment in which I would not wish to spend my life. To my father, Dilbert is a slightly exaggerated…
Earlier this week, Paul Lam of Locco Ritoro Gallery surprised many people by announcing that he would be closing the gallery. In its two years in the Harrison Street SoWa complex, Locco Ritoro has shown a wide variety of exciting and engaging work, with no signs of stopping. “We received an […] offer this summer to sell the gallery. It was too good to pass on so we’ve accepted and just closed on the deal,” Lam said in an email to Big RED & Shiny. William Kerr, of Gallery XIV, expressed his…
By BIG RED Liz Nofziger has returned from Documenta with images of some of the great work she experienced. Documenta
By BIG RED Friday, August 10th, 2007 Candid snaps from a Big RED night on-the-town at Axiom for the opening of “Collision:Technomorph” featuring new work from the Collision Collective. Axiom Photos by Autumn Ahn.
By BIG RED NEWS EDITOR By needing what the other has, a joint move by two well known Berkshire institutions by Clark Institute of Art and Mass MoCA – secures space for the former and money for the latter: From The Exhibitionist: The Clark Art Institute has a $300 million endowment, more art than it can put on its gallery walls, and is eager to expand. The Massachusetts Museum of Contemporary Art, a 15-minute drive away, has plenty of extra space and needs cash. From The Providence Journal: The lifelong agreement requires…
By BIG RED NEWS EDITOR As we reported in issue #65, a new gallery named Proof has taken over the space in the Distillery that formerly housed Second Gallery. Co-directed by Julia Hechtman and Kara Braciale, Proof’s mission statement promises that “Proof strives to provide a forum that furthers the active contemporary arts discourse in Boston. In collaboration with artists, curators, scholars and viewers, we will draw on a range of experiences and approaches to develop new strategies for productive critical, social and aesthetic engagement.” When considering the transition from Second Gallery…