George Herold, Beverly, cast aluminum finished with coral red car paint on a white plinth, 2011/2017.
Tuesday, June 19th, 2018 at 1:12 pm
Last year, the Parcours sector at Art Basel was so good I did not think it could be topped, and I was right. Perhaps overconfidence, or the fact that the really good projects were done last year emerged, but this year’s Parcours just did not measure up to the quality of the projects from the […]
Ann Morgan Spalter, "World of Water", still from video.
Thursday, January 4th, 2018 at 12:02 am
UNIVERSITY SPOTLIGHT ON & ON: ARTS WITHOUT END & COLOR-ISM BEARD & WEIL GALLERIES WHEATON COLLEGE 26 EAST MAIN STREET NORTON, MASSACHUSETTS JANUARY 24 THROUGH FEBRUARY 23 by Suzanne Volmer The professional hats worn by Elizabeth Keithline include artist, public art consultant, critic, writer and teacher. This past autumn, she was appointed as interim director […]
Carl Mannov, Feeding grounds, 2017, sofa, printer, A4 paper/packing and sand-cast concrete, 104.7” x 33.9” x 19.7”, at Christian Anderson, Copenhagen, at Positions.
Monday, December 4th, 2017 at 2:11 pm
By Nancy Nesvet I hope you all read Artscope’s preview article of Art Basel Miami Beach 2017 in our November/December 2018 issue. If you didn’t, refer back to it because this Artscope writer was right on the pulse of this Art Basel. Not only is the world of the artist becoming self-and community-centered, but it […]
Brickbottom Open Studios 2017 collage (photographs by Sabrina Garvin).
Monday, November 20th, 2017 at 3:54 pm
By Sabrina Garvin SOMERVILLE, MASS. — At this year’s Brickbottom Open Studios, held on November 18-19, there was so much artwork it was dripping from the staircases. As one of the largest, oldest and most well-attended open studios events, there was something for just about anyone’s artistic tastes, from elegant photographs, jewelry, oil paintings and […]
Samuel H. Levine and McKinley Belcher III in the Huntington Theatre Company's production of A Guide for the Homesick, directed by Colman Domingo. © Photo: T. Charles Erickson.
Monday, October 30th, 2017 at 2:38 pm
By James Foritano BOSTON, MA — How best to introduce a play reeking with the ambiguities and ambivalences of the human situation is perhaps to start with a few paragraphs of bare facts. The title of the play under review is “A Guide for the Homesick” by playwright Ken Urban. Its current run takes place […]
Honk Fest 2017
Thursday, October 19th, 2017 at 9:58 am
Shem Tane CAMBRIDGE, MA — This past weekend the city of Cambridge celebrated its 11th year of HonkFest, which is a three day festival of brass bands from around the U.S. performing in both Davis and Harvard Squares. The core of the festival is to bring the community together through music. As I witnessed […]
Welcome to Chatham
Monday, July 31st, 2017 at 10:57 am
Chatham, Massachusetts sits on the elbow of the sandy spit that saves Massachusetts from being a rectangle. And while collard gingham shirts, golf clubs and yachts abound in this seaside town, there is an enduring art scene that has kept it from being square.
Entrance to Venice Biennale (photograph by
Monday, July 17th, 2017 at 10:27 am
Surrounded by water, filled with foreigners speaking different languages, in a city where getting lost in ancient alleyways is a regular occurrence, Venice provides the perfect venue for the most famous of the World’s Biennales. Almost every exhibit at the Venice Biennale deals with risks to our changing world, whether they be political or environmental. Located at ground zero, with the risk of inundation by water if global warming continues to produce floods and facing refugees arriving in Italy every day, Venice is the perfect place for government-sponsored art projects seen by an international public.
Images: LEFT: Liu Jianhua, Square, 2017, China,
courtesy of Pace Gallery, Beijing and Hong Kong, At
Venice Biennale 2017; RIGHT: Sislej Xhafa, Lost and Found, 2017, Pavilion of the Republic of Kosovo, Venice Biennale 2017.
Friday, July 14th, 2017 at 2:03 pm
Curator Christine Macel has judiciously assigned themes within the exhibition of artists’ work she has chosen; at the Giardini; Pavilion of Artists and Books, Pavilion of Joys and Fears and Pavilion of Time and Infinity (part 2). The Arsenale site includes Pavilion of the Common; Earth Pavilion; Pavilion of Traditions; Pavilion of Shamans; Dionysian Pavilion; Pavilion of Colors and Pavilion of Time and Infinity, part 1. Intentionally amorphous separations of the Pavilions without blatant markings allow unhampered flow. In her statement in the Short Guide, curator Macel explains that this flow is important. Flowing water crossed by refugees has no boundary signs; the flow of refugees must ignore boundary marks to progress.
(Clockwise, from top left) Reza Aramesh,
Site of the Fall: Study of the Renaissance Garden,
2016-17, marble, topiary, Leila Heller, New York
City, at Parcours, ArtBasel ; Sue Williamson,
Messages from the Atlantic Passage, Goodman
Gallery, Johannesburg, South Africa; Phyllida
Barlow, untitled: 100banners2015, 2015, Hauser &
Worth, Zurich; Thomas Struth, Paradise 28, Rio
Madre de Dios, Peru 2005, 2005, chromogenic print,
Galerie Max Hetzler, Berlin/Paris; Peter Regli,
Reality Hacking No. 313, 2014, Levy Gorvy, New
Monday, June 19th, 2017 at 3:36 pm
This year, Art Basel had something for everyone. Dominated by the motherlode of over 4,000 works of art shown by 226 exhibitors in the Galleries sector, Art Basel extended its universe to individual artist projects at Parcours, Unlimited, Statements and Features. The solo projects, the result of artist proposals, were politically aware, environmentally conscious and community oriented.