By MATTHEW NASH ‘Patamechanics is a method of discovering/manifesting artifacts’ much like those of the ancient Wonder-rooms, ‘which symbolically attribute their properties described by their virtuality to their lineaments.’ A Patamechanical artifact or device is displayed with the intention of…

By MATTHEW NASH On Friday, November 3 there were two competing receptions to choose from. The first was the juggernaut of SoWa First Fridays, usually crowded with a wide range of Boston art lovers, and an ecclectic mix of artwork…

By MATTHEW NASH I recently had a very pleasant conversation with a gentleman named Raymond Liddell. He is a professor of art history where I work, and in the course of our conversation he pointed out that Big RED &…

By MATTHEW NASH The American childhood is a much discussed institution, often held up as something to be protected against the loss of innocence that is adulthood. Thus we put warnings on music and ratings on movies, and spoon-feed Disney…

By MATTHEW NASH Art does not die because there is no more art, it dies because there is too much. Jean Baudrillard [1] Is there too much art? What a strange question to have to ask, and yet there are…

By MATTHEW NASH A while ago I wrote a piece for Contemporary Magazine about the new ICA building and it’s potential impact on the SoWa district, which has finally been published in their 81st issue. In that piece, I wrote:…

By MATTHEW NASH So, when a real estate developer decides to promote a new pair of overpriced condos with two weekends of art events, I tend not to think too much about it. But given that the event is packed…

By MATTHEW NASH As summer approaches, so does the end of school and the ensuing conflux of graduating student exhibitions. The next few weeks will feature a great abundance of artwork showing the culmination of years of work at many…

By MATTHEW NASH Lounging in the cozy chairs of Emack & Bolio’s, Ravi Jain and I recently took time out to sip tea and discuss his life online. The 35-year-old MassArt grad has been making a lot of friends with…

By MATTHEW NASH Recently, through somewhat dubious circumstances, I was able to climb the stairs at 684 Washington Street and revisit Oni Gallery. I guess I am a bit of a broken record, but as I stood there I found…

By MATTHEW NASH In our efforts to understand and accurately represent the full scope of our art scene, Big RED & Shiny sent a survey to the commercial galleries of New England. About half of those contacted replied, and the…

By MATTHEW NASH My first impression of “We Made It”, the first exhibition for fledgling Second Gallery, was: “I’m too old to get this show.” No, Charles Giuliano has not hijacked my body, and yes, I am still under thirty,…

By MATTHEW NASH James Elkins is a professor at the School of the Art Institute of Chicago, and author of numerous books on a wide range of subjects, including “Why Art Cannot Be Taught”, “The Object Stares Back”, “Master Narratives…

By MATTHEW NASH Here at the start of the new year, I thought I’d take the opportunity to offer a “State of Big RED” report to you, our loyal readers and supporters. 2005 was a big year for us, for…

By MATTHEW NASH Driving home tonight, after watching my friend’s band play at TT’s, I took a detour by the Museum of Fine Arts. Illegally parked in front of that grand building, I started to think about its role in…

By MATTHEW NASH Walking down Washington Street to get lunch at New Saigon Sandwich, I looked up at the darkened windows above the corner at Beach Street. My heart gave a little leap, then sank a bit, and I thought…

By MATTHEW NASH Currently on view at the Artists Foundation gallery in the Distillery Building are three solo shows of engaging and beautiful works. Josephine Pergola’s “Surface Tension”, Joe Steele’s “Little Big Mind” and Adra Raine’s film “Water” each offer…

By MATTHEW NASH I have to admit, I’m disappointed. A few issues back, I offered up a chance for the readers of Big RED & Shiny to design an issue of our little pink website. This came out of many…