Curiosity diverted Tony Conrad into the underground worlds of experimental music and filmmaking, and to an unpretentious understanding of himself as a conceptual artist.
In Written in Smoke and Fire, Edgar Arceneaux reappropriates blackface and examines the legacy of a quasi-sacral figure in national history, Martin Luther King, Jr.
CAMBRIDGE, Mass. — “The work is the death mask of its conception,” Walter Benjamin wrote about writing technique in his 1928 collection of essays One-Way Street.
CAMBRIDGE, Mass. — Men are dogs, but their shit grows into trees and their urine forms the sun as they defecate themselves in Tala Madani’s oil paintings.
CAMBRIDGE, Mass. — The small (but densely layered, as always) collection of Ann Hirsch’s work in the Bakalar Gallery at MIT’s List Center is Boston’s first introduction to her art.
CAMBRIDGE, Mass. — It is a dark room that seems like nothing much — a cave, an aside to the larger exhibition spaces at MIT’s List Center — until you immerse yourself in it for any length of time.
I was speaking the other day to my colleague — and increasingly friend — Rebecca Uchill, who is headquartered at MIT, and she told me that one of the perks of being at MIT is that you can take real art home (or to the dorms, anyway) as part of some glorious art lottery known as the Student Loan Art Program. WHAT?!?!
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).