Printmaker and sculptor Elizabeth Catlett, who died in 2012, still feels quite alive through her life’s work. I visited the Cantor Gallery at the College of the Holy Cross having intentionally avoided reviewing the press material sent for its “The Art of Elizabeth Catlett from the Collection of Samella Lewis” so that I would react to the art without preconception. That changed in hurry as I realized that much of her work had been a subliminal part of my life, whether seeing it growing up in the city that gave the world Abbie Hoffmanand that had many social programs in its neighborhoods, or in my teenage years that followed as I became more aware of social and political protests. It felt warm and familiar and my thoughts turned to wondering how the college students who get to use the show as a backdrop for their fall studies were reacting to the work at a time that on-campus activism … [Read more...] about STILL CONFRONTING INJUSTICE: ELIZABETH CATLETT’S TIMELESS WORKS AT CANTOR GALLERY

It’s difficult to make out what you’re looking at. At first, it seems vaguely like an upside-down human head. But what would serve as a skull is a black vessel imprinted with flowers and leaves, and a raven ponytail grows out a would-be neck. Then there are the tan and lace-like patches creating a checkered patchwork across what would be a face, and the cream-colored nodules and protuberances growing nearly everywhere — some of which resemble reproductive organs. Meanwhile, a vastly different piece holds a similar curiosity: The silhouette of a chicken runs across dozens of rectangles on a Japanese paint color chart; the many hues arranged in neat rows include “luminous lemon,” “primary magenta” and “leaf green.” The former, “Ch’ing Nasty,” is a paper and hair collage by Jessica Lau; the latter a monotype by Rob Roy. (To read more, pick up a copy of our latest issue! Find a … [Read more...] about DOUBLE MEANINGS AT WORK: ROY AND LAU’S ABSTRACT CONNECTIONS AT MONTSERRAT