With its new Watershed space, the ICA has to navigate a delicate balance of bringing art into East Boston without displacing the communities and artists already there.
Institute of Contemporary Art Boston
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How the Nebulous Internet Has Influenced Art Since 1989
A large survey exhibition comprehensively traces the internet’s influence on artistic practice since 1989, uneasily and unexpectedly revealing how it can subsume both the art and its viewing contexts.
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Photographer Accused of Sexual Harassment Asks ICA Boston to Take Down His Exhibition
The museum will close the show 10 days early, in accordance with the wishes of Nicholas Nixon, who has been accused of sexual harassment by several of his former students.
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The Haphazard and Playful Worlds of Mark Dion
In this retrospective there’s no question about Dion’s aesthetic eye and his capacity for the subtle, intuitive kind of taxonomy-making that artists engage in.
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A Steve McQueen Video Ponders the Vulnerability of a Young Man’s Life
The artist and filmmaker’s two-channel video piece “Ashes,” having its US debut at the ICA in Boston, forces the viewer to reconcile disparate scenes projected onto either side of a suspended screen.
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Art as a Learning Process: The Legacy of Black Mountain College
BOSTON — Founded in 1933 by the classicist John Andrew Rice, Black Mountain College was a shoestring operation deep in the heart of the rural American South that opened as the Great Depression began and another World War loomed just over the horizon.
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Arlene Shechet’s Unified Theory of Ceramics
BOSTON — The ads for Arlene Shechet’s exhibition All at Once have been intriguing and unsettling.
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Boston Art Prize Disappoints by Snubbing Local Artists
BOSTON — There is no actual historical evidence to support the idea that Jesús Malverde ever existed, and stories of Mexico’s “Robin Hood-like bandit” seem likely to have been fabricated over time, embellished, and then mainlined directly into the central nervous system of narco-culture thug life.
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The Persuasive Paintings of a Shamanistic Yenta
SOMERVILLE, Mass. — The idea that a work may be finished before some mysterious visual and artistic calculus is complete tends toward the blasphemous. And, with a shrug of the shoulders, to simply imply that you are finished with a painting or drawing when you don’t want to work on it anymore — well, that’s just how Amy Sillman rolls …