“It was like realizing your parents have a life outside of you and you’re not a kid anymore.”
April may be the cruelest month, but artist Arlene Shechet is sweetening our sullen sojourn into spring with a free, epic happening.
The tireless artist, on the vanguard of experimental sculpture, has decided that the Trump Era requires public art to be political.
Gray Matters, featuring 37 artists working almost exclusively in shades of gray, is a dazzling exhibition.
An exhibition at the Frick features pieces from its collection of Royal Meissen porcelain curated by artist Arlene Shechet, as well as works she made while in residence at the historic manufactory.
This list barely scratches the surface of the city’s artistic offerings this year, from overdue retrospectives to surprising sides of artists we know well.
BOSTON — The ads for Arlene Shechet’s exhibition All at Once have been intriguing and unsettling.
Memories fade. That’s the one good reason, as far as I can see, to compile an end-of-year list. It’s sometimes startling to retrace what attracted my attention over the course of a year; it is also instructive to determine where such a miscellany of shows fits in with ongoing areas of interest, and which ones, in hindsight, merited the time it took to review them.
Brimming with knockabout energy, Arlene Shechet’s polymorphous clay sculptures at Sikkema Jenkins — exuberantly colored columns, clumps and sacks of glazed ceramic — feel almost illegitimate in their sensuality and humor, a reaction that immediately calls into question why a word like “illegitimate” would spring to mind in the first place.