By MATTHEW GAMBER Who is behind the masthead of Big RED and Shiny? Just who is the conduit of its content? Have you ever wanted to know what our philosophy is? Who are we, really, in the anonymity of the…
By MATTHEW GAMBER Dear March, Spring Break is over, and is time to call the IT guy to change the clock on my computer because I have been living one hour behind everyone else. On the web, I am effectively…
By MATTHEW GAMBER Print this article At last, number 56. The issues usually speak for themselves, and this writing is just a snippet among all the other writings: Reviews from shows in academia, a column from the Anonymous Art Dealer,…
By MATTHEW GAMBER N: Hey Gamber, how’s the letter coming? G: Nash, what is the minimum we need to say? Goodbye 53; welcome 54. This issue: A report on the community stakes in creative economy from Christian; reviews from the…
By MATTHEW GAMBER This past Thursday, Big RED was one of many press outlets given the opportunity to view the new Diller Scofidio + Renfro building, the new home of the ICA. While workers were continuing to add the finishing…
By MATTHEW GAMBER A professor I once had was always probing students for the core of what made people want to create. She was little interested in what socialized rationale students offered, because it was usually safe to say in…
By MATTHEW GAMBER Like the 49 issues that have come before, we offer the 50th serving of articles, reviews, news and columns. Our first reaction was to congratulate ourselves and offer some kind retrospective, as it is the convention. This…
By MATTHEW GAMBER A contemporary riddle: How many Ansel Adams calendars does the Sierra Club have to sell to support awareness of the John Muir trail? Based on sales, many admire a tree more in a photograph, which is perhaps…
By MATTHEW GAMBER Here ’tis, the 46th installment (or episode, as Mr. Warmouth referred to it – you are looking at a screen). This issue of Big RED, by default, has become an unofficial ICA issue with an evaluation of…
By MATTHEW GAMBER Readers, donors – dedicated and new: No commemorative DVD’s were offered! No tote bags! No coffee mugs! No operators were standing by! No phones! Yet, you continued to respond! Here at Big RED, we want to extend…
By MATTHEW GAMBER Today was Sunday; this is 41, our next offering. I have liked them both, simultaneously. Some of you, no doubt, will be reading this issue asynchronously with how we have experienced it: on the brink of having…
By MATTHEW GAMBER I have had the opportunity, in close proximity, to be on both sides of the application process. If you’ve read though parts of Issue 35, and you are unfazed by the articles on Art and Academia, here…
By MATTHEW GAMBER In elementary school, my sister discarded (or left in my dresser, for whatever reason), an unlicensed Lakers t-shirt. I decided to wear it to school the next day because: A) I discovered it, which was its own…
By MATTHEW GAMBER Snapshots and studio photographs both represent a cultural norm of either actual or imagined American history. One represents the everyday and the the latter dignifies the celebratory events that punctuate the everyday. A family album is its…
By MATTHEW GAMBER Print this article Ken Feingold is an artist whose work has explored the communicative capacity of video installation, web-based programming, and “cinematic sculpture.” Feingold is a recipient of awards from the National Endowment for the Arts, the…
By MATTHEW GAMBER Print this article What does it mean to understand the concept of place and how do we define it? Cultural essayist J. B. Jackson described the origin of the idea in our modern lexicon — to define…
By MATTHEW GAMBER Print this article Characterized by its elongated horizontal size and finely articulated details, the panorama was originated as a painting format in the nineteenth century. In a time of fevered nationalism, many of these paintings were government…
By MATTHEW GAMBER Print this article As part of their Northeast Exposure Series, the Photographic Resource Center at Boston University presents Honky Tonk: Portraits of Country Music 1972-1981. The exhibition features the work of Henry Hornstein, a New Bedford native,…
By MATTHEW GAMBER Print this article In 1975, the International Museum of Photography at George Eastman House in Rochester rang a death knell on the landscape photography as popularized in the previous decades by artists like Ansel Adams, Eliot Porter,…