By THOMAS MARQUET #22: Danny is called on the carpet to explain why a bad review is a good review. “The White Cube” comics can be read in series in the Big RED & Shiny Collections section. Thomas Marquet…
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…
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…
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…
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…
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…
By JAMES NADEAU Blogs are a dime a dozen. They are ubiquitous reminders of the human desire to connect to the world and other people. They are evidence of Habermas’ public sphere, the space where dialogue and conversation between private…
By MATTHEW GAMBER It’s Labor Day Weekend. Our Big RED writers and contributors dug deep (emotionally – the weather outside is alluring) and contributed to this, our 68th issue, the Summer’s Growing Old Issue. Galleries follow a close parallel schedule…
By STEVE AISHMAN “The Six Mistakes of Man” The delusion that personal gain is made by crushing others. The tendency to worry about things that cannot be changed or corrected. Insisting that a thing is impossible because we cannot accomplish…
By KATHLEEN BITETTI Part-timer’s and Adjunct Professors Health Insurance and Retirement Legislation Greetings! Here are two pieces of Massachusetts legislation that will probably be of interest to the artist community. Rather than re-work the information, I am posting the email…
By CHARLES GIULIANO While this is the 50th anniversary of the 1967 “Summer of Love,” the fast ending season will also be noted for a media romance with the current exhibition “Making It New: The Art and Style of Sara…
By THOMAS MARQUET #21: If you have to be at work on a holiday, what is the best way to kill the time? “The White Cube” comics can be read in series in the Big RED & Shiny Collections section.…
By JOHN RUGGIERI I remember the big stink, the uproar, that spilled into the daily newspaper when Serra’s Tilted Arc was deemed unfit, too big, just not practical enough, for human consumption in its commissioned site at the Federal Plaza…
By MICAH J. MALONE Camouflage is a modest exhibition dealing with artist’s use of pattern to construct paintings. The title of the exhibitions takes its name from Andy Warhol’s giant 37-foot canvas. While pattern has certainly been a major theme…
By CHRISTIAN HOLLAND In Merging Influence: Eastern Elements in New America Art, the word “east” has a somewhat dubious meaning. It does not necessarily mean the “Far East,” but means what is not the West. The idea brings about a…
By JON PETRO “Spencer Finch: What Time Is It on the Sun?” now on display at Mass MoCA, consists of over 40 groupings of art, 160 individual pieces in total, four of which the press-release states as major new works.…
By BEN SLOAT I’ve debated the merits of Edward Hopper over a number of years. Always I’ve thought of him as a Willy Loman figure, an unobtrusive traveler of New York and New England, quietly painting the slow failures of…
By JOE LEDUC Immanuel Kant once wrote that “a man abandoned on a desert island would not adorn either himself or his hut” to demonstrate the essentially social nature of art. While it may be created in solitude, art for…