By MATTHEW NASH Of all the things I find most difficult as an artist, it is the problem of turning one’s own personal experience and ideas into something that others can understand that seems to be the most universal. Many…
By JAMES A. NADEAU It seems fitting that Tobias Putrih and MOS (an architectural collective) have their recent piece Without Out installed at MIT. If for no other reason that it’s aesthetic certainly reflects a couple of buildings not only…
By AARON HOWLAND You’re walking through the city at 3 AM. It’s pitch black; it’s silent; you’re alone on the streets. You turn a corner and see a car in flames. Bodies burn before your eyes; the metal hull of…
By ZACHARY DELUCA The Comfort of Strangers Described by its creator as a “roving supper,” Wink hardly sounds like a work of art. The premise and practice of Wink is deceptively simple: as a private chef, he cooks a multi-course…
By RICKY TUCKER My Bit in the Grand Illusion: a writer wanders through the American Repertory Theatre’s experiential theater. We’d all arrived to the dream as willing spectators, and from that point forth our perceptions were made to be obstructed;…
By JAMES A. NADEAU This Tuesday marks the twentieth anniversary of Day Without Art. Begun on December 1st, 1989, the Day Without Art (now known as Day With(Out) Art) was created to spread awareness of the destructive power of AIDS,…
By MATTHEW NASH Andrew Mowbray is a sculptor in the tradition of Joseph Beuys, whose objects exist to facilitate a performative act, and remain as tangible evidence of that experience. His new body of work, Tempest Prognosticator, is currently on…