In my review of the “Danforth Annual Juried Exhibition 2022” that runs through September 18 at the Danforth at Framingham State University in our September/October issue, I mentioned that it feels like “at least a dozen smaller shows thanks to the assemblage of the works, either right next to each other or in approximate view,” and that included a selection of fiber artworks. One that especially caught my attention, after a long summer of work in the backyard in which I had gotten to know each leaf and stem of each vegetable, was the finally detailed “Meadows — The Gardening — Revolution” piece by Liliana Folta that was made from repurposed textiles, found objects and ceramic pieces. I wasn’t able to fit her email responses to questions I had about Folta’s work into the article, so I’m happy to share them here: YOU MADE THE WORK IN 2021; WAS IT SOMETHING THAT THE SOLITUDE … [Read more...] about CORNERED: LILIANA FOLTA MEADOWS — THE GARDENING — REVOLUTION AT DANFORTH MUSEUM
CORNERED: LORI MEHTA XMARKSTHESPOT AT DANFORTH MUSEUM
Our 100th issue (September/October 2022) includes a review I wrote of the “Danforth Annual Juried Exhibition 2022” that runs through September 18 at the Danforth at Framingham State University along with interviews with some of the artists about their work. Due to deadline restraints, I wasn’t able to include my exchange with Lori Mehta, whose wonderfully detailed “XMarkstheSpot” oil painting was one of my favorite works in the show, so I share our email exchange here. I FELT A BIT OF THE RELAXED WEST COAST STYLE OF THE 1960S AND '70S AND WAS WONDERING IF THAT WAS AN INFLUENCE? “Without a doubt, I am influenced by several artists of the 60’s and 70’s, however the first two who come to mind are from the East and West Coast, Katz and Hockney. I am curious who you see in my work? Sometimes being truly influenced by another artist might not be evident, even to the artist … [Read more...] about CORNERED: LORI MEHTA XMARKSTHESPOT AT DANFORTH MUSEUM
PHILIP GUSTON’S TRUE COLORS AT THE MUSEUM OF FINE ARTS, BOSTON
In this era of re-examining our values in the face of increased social tensions and existential threat, Philip Guston’s sour yet exuberant late paintings promise to tell us who we are and what beliefs we must cling to in order to go on. Guston, a giant of 20th Century painting, scandalized the New York art world in 1970 by turning his back on the prevailing trend of pure abstraction. He embarked instead on an inspired journey creating politically-infused, tragic-pop canvases that exploited a wacky cartoon-style imagery. Although these works failed to sell in his lifetime, they changed the dialogue of painting. He stood by his vision, supporting his family by teaching at Boston University, and produced the bulk of his oeuvre in this new style until his death in 1980. The retrospective “Philip Guston Now” displays 100 works at Boston’s Museum of Fine Arts through September 11. … [Read more...] about PHILIP GUSTON’S TRUE COLORS AT THE MUSEUM OF FINE ARTS, BOSTON
HIGHFIELD HALL HOSTS BOSTON SCULPTORS AT 30 IN FALMOUTH
Showing at Highfield Hall and Gardens in Falmouth as part of the Boston Sculptors Gallery’s 30th anniversary is an exhibition of 50 pieces of the genius of these artists, diverse in race, class, gender, styles and media. (Many of the pieces are for sale.) It’s a mind-boggling burst of talent almost too much to take in at one go. You can take an hour’s stroll outdoors through enchanted wild woods and formal gardens, and then cool off indoors for part of the exhibit — which is on two floors of the high ceilinged, antique 19th century Queen Anne mansion. The indoors exhibit ends August 21, the outdoors one on October 30. Starting with an homage to a fallen ancient beech tree by Ed Andrews, constructed of a tower of rusted laddered steel, with live sapling atop, the path takes you past a centerpiece of story-high white aluminum structures by Andy Zimmermann, “Seven Sprouts.” It, like … [Read more...] about HIGHFIELD HALL HOSTS BOSTON SCULPTORS AT 30 IN FALMOUTH
Roundup: Art Basel, Volta, and Kunstmuseum Basel: Who Wins?
It was pretty much a tie for me as to which fair was better, Art Basel or Volta Basel. Whereas Art Basel did little to startle, presumably deeming more serious (and environmental) artwork more appealing to buyers, including my favorites: Hiroshi Sugimoto’s Chromogenic print, “Optiks, 224,” 2018, at Marian Goodman Gallery, with blues and greens added to his formerly mainly black, white and gray palette; Njideka Akunyili’s Crosby’s “Garden Party,” 2019, acrylic, colored pencil, collage and transfers on paper, at Victoria Miro, and best of all for me, Alex De Corte’s “The End,” 2022, velvet, EPS, thread, at Sadie Coles HQ, London. I want that flowered wreath permanently in my house. Volta Basel similarly provided beautiful landscapes and glorious depictions of people and the environment for younger and less wealthy buyers to take home with them. Charlie Smith (London) won my heart at … [Read more...] about Roundup: Art Basel, Volta, and Kunstmuseum Basel: Who Wins?
EXIGENCY ON FULL VIEW: PEOPLE OVER TECHNOLOGY PREVAILS AS ART BASEL 2022 OPENS
Arriving Tuesday morning, unfortunately missing the initial press and VIP preview days at Art Basel 2022 in Basel, Switzerland, I became part of the larger crowd vying for the attention of artists and gallery owners at the revived fair following Covid interruptions and re-schedulings. Art was selling at multiple booths, but, and this is the caveat: the best pieces were selling quickly while those of lesser quality and often merely picking up on jokes of the past languished. The animal covered with bananas recalling an old joke was ignored. I found multiple pieces, however, that made me smile, incorporating bright colors and ingenious forms. Resulting undoubtedly from the Covid prohibitions on traveling, much of the work reflected the artist’s own community and place. From Leonardo Drew’s gathering of stuff from around his home, collaged into a massive work at Galerie Lelong’s booth to … [Read more...] about EXIGENCY ON FULL VIEW: PEOPLE OVER TECHNOLOGY PREVAILS AS ART BASEL 2022 OPENS