Following on the heels of New York, London, and many other urban centers, Boston is the latest city to envision how best to manage the certainty of rising water levels due to global warming.
Imagine you were creating a time capsule that would summarize American life today. What would you put in it: A smart phone? A kindle? Maybe a few seasons of NCIS or Orange Is the New Black?
The two oldest known and unopened time capsules were unsealed last week, one in New York and the other in Boston.
CHICAGO — An adolescent girl in her bedroom is a curious thing. In her series A Girl and Her Room, Boston-based artist Rania Matar photographs adolescent girls in their bedrooms, capturing them in moments vulnerable and fresh. She manages to do so without a hint of voyeurism, and with a serious dose of respect for the girls themselves.
In what can only be called a bizarre turn of events, a defense contract that is trying to turn a South Boston theater into a combat-helmet assembly plant has compared what it is doing to what its artist neighbors do for a living.
Discontent is stirring in New England’s biggest city, and today a rally called Take Back Boston began. In preparation for the big event, local activists have outfitted 13 bus shelters with images that make them resemble foreclosed homes.
New England Journal of Aesthetic Research reports that Brandeis University in suburban Boston is pledging not to sell any art from its renowned Brandeis Rose Art Museum, after ex-president Jehuda Reinharz attempted to close the museum and sell its collection in 2009.
The Boston art media are getting into a tiff, arguing if the newly redesigned ICA Boston is irrelevant-on-arrival. The Diller Scofidio+Renfro-designed home has actually heralded a new high point for a museum that is becoming one of the Northeast’s most dynamic, interesting contemporary art institutions.
The similarities between contemporary art and taxidermy are more numerous and more humorous than I realized, and thanks to a slightly too smart, vaguely discomforting show called Whitetail Deer, A to Z by Rebecca Lieberman at Anthony Greaney Gallery in Boston this similarity has been brought to my attention in great depth and detail.
I made a recent realization: discussing complex gender issues leaves me speechless. I realized that after about the 14th time I tried and failed to begin this article. This new manifestation of my ignorance comes courtesy of the MIT List Visual Arts Center’s exhibition entitled Virtuoso Illusion: Cross-Dressing and the New Media Avant-Garde. The exhibit covered themes of alternative identity, gender roles, and sexuality. I was strongly drawn to two pieces in particular, one of which was Michelle Handelman’s video “Dorian” (2009), the other was Kalup Linzy’s “Conversations wit de Churen III: Da Young & Da Mess” (2005).
The city of Boston is not generally known for its hopping art scene. Although it is home to the Massachusetts College of Art and Design (which is the only publicly funded art university in the country), the patrician Museum of Fine Arts Boston, and the picturesque Institute for Contemporary Arts the city cannot pretend to boast an art market that even holds a candle to that of New York, LA or Miami. A recent article by Paper Monument’s founding editor Dushko Petrovich in the Boston Globe proposes that the Boston art scene can bring something entirely different to the table than those acquisition driven hubs.
Boston artists understand that the city’s contemporary art community lacks punch. After all, they’re the ones in the middle of it, surrounded on all sides by curators, galleries and critics. As artists have responded to the problems set out in my series on the Boston contemporary art scene, their comments point towards a working answer for one question: how could the Boston art community be made better for the city’s artists?