Newest Features
In real estate, location counts. This importance, of the site on which a building stands and the neighbors it abuts, has never been lost on the art institutions of Manhattan. Henry Clay Frick started collecting art in his Fifth Avenue villa and there it remained after his private home was converted into a public gallery. The Whitney is planning a move from its landmark building on the Upper East Side to a new Renzo Piano creation sited at the entrance to the city’s favorite new park-cum-art space, The High Line. These examples…
The challenge here is to make posts that show process. For me, stopping every now and then to write or snap a picture while working creates a new work, more or less independent of the thing I’m working on. To complicate matters, my process is different for every work, and sometimes I’m not aware that a process is going on at all. I know how some works were conceived and made, but in many cases, I can’t clearly remember what order things happened. There’s a stew of ideas and a smattering of…
Every week, BR&S picks out a series of gallery events, screenings, exhibitions, performances. Here are our choices for you to go & see this week: • Events Friday May 3 450 Harrison Avenue, Boston SoWa First Fridays 5-8pm / Free Saturday 4 – Sunday 5 May Somerville Open Studios noon-6pm / Free • Exhibitions Wednesday May 1 – Sunday July 14 ICA, 100 Northern Avenue, Boston James and Audrey Foster Prize This exhibition presents work by Sarah Bapst, Katarina Burin, Mark Cooper, and Luther Price—the finalists for the James and Audrey Foster…
The opening reception of Toshio Shibata, Constructed Landscapes at PEM on Wednesday April 17 drew well over 200 visitors, from affiliated artists to friends of the museum (which includes, as it turns out, the consulate of Japan in Boston), North Shore patrons and benefactors and, fortunately for me, crackerjack press members with a penchant for the arts. Under the soaring ceiling of the atrium, a trio played an accompaniment to the mingling of attendees who greeted in anticipation of Shibata’s exhibition, culled from the last thirty years of his career. In…
The huge influx of artists and intellectuals from Europe to the United States during the world wars, which created what seemed to be a transfer of power from Paris to New York, is a well-known story. There are endless books about the NY School, the European artists that gave Americans confidence, the jittery American artists that never believed that their work had gravity, and how painting—the subject is almost always a painting—changed and grew when it crossed the Atlantic. American art became something to be grateful for rather than to work against.…
PHSNE President John Dockery, Abe Morell, PRC staff member and former Morell student Julie Kukharenko, and Erin Wederbrook Yuskaitis. Photo by Rene Ricciardi. Courtesy of the Photographic Resource Center Cuban-born, Boston-based Abelardo Morell has been exploring the very nature of the photographic image for over 30 years as an artist and educator. Best known for turning rooms (and, more recently, a portable domed tent) into camera obscuras and photographing the resulting images of the outdoors projected inside, he’s long been fascinated with optics, dimensionality, and perception. At BU’s Morse Auditorium on…
Just before her lecture last Tuesday night at Harvard Art Museum, Doris Salcedo sat in the last row of a lecture hall in Sackler, starring off into space. She seemed unaware of the burgeoning crowd, lost in thought, present in some other time. Salcedo, who lives and works in her native Bogotá, Colombia, was in town to give the concluding talk in this academic year’s “Art in Public Space” ArtisTalk lecture series. Infamous for large-scale public art pieces such as her installation at the 2003 Istanbul Biennial, in which she filled an…
Precise gestures offer a sense of familiarity — perhaps the shape is a common character in Chinese. The stems must be an abstraction of language. Does each stem mean a different word? Do they mean anything? How do we extract meaning from gestures like these? Why do I feel that there must be any meaning at all? What does it mean to reference language without fully engaging in a dialectic? What about this little sketch is making me ask so many questions? Our eyes read the fruits as individuals. One is…