Pathmakers: Women in Art, Craft and Design, Midcentury and Today is a brave exhibition currently on view at the Museum of Arts and Design.
WALTHAM, Mass. — To say that painting is having a moment would be ironic – since, despite periodic claims regarding its demise or return, it clearly never went very far away.
Among the sleek catalogues at the entrance to the Clifton Benevento Gallery sits a tattered hardcover, its paper jacket ripped to reveal the plain binding. This is artist Polly Apfelbaum’s copy of A Handweaver’s Pattern Book.
LOUISVILLE, Kentucky — The Kentucky Museum of Art and Craft in Louisville has spent the last couple of years staking out a place in discussions occurring in contemporary art circles about the line dividing art and craft. The recent exhibition PRESS: Artist and Machine was a romantic show focused on illuminating the relationship between 19th-century printing-press technology and 20th- and 21st-century art production.
The great iconoclastic painter Peter Saul, for the first time ever, has turned his hand to curating, gathering together nearly two dozen kindred spirits for a show that revels, as to be expected, in the libidinous and the ravenous, the stunted and the scared, the blinkered and the grotesque — that is to say, humanity. The effect, as to be expected, is sublime.
I’d like to start with a disclaimer: Top 5, 10, whatever lists make me nervous. They feel so definitive, so set in stone, and that makes me uncomfortable. What happens when my opinions evolve (as they inevitably will), or when I change my mind tomorrow, or if I accidentally forget something?