Documenting Boston’s Murals: What They Say and How They Say It, a short essay written for the Boston Society of Architects on my attempts at documenting every extant mural in the City of Boston.
El Anatsui: When I Last Wrote to You about Africa, Davis Museum and Cultural Center at Wellesley College. March 30 – June 26, 2011.
Organized by the Museum for African Art, New York, but premiered at the Davis Museum, this exhibition was my introduction to the work of El Anatsui, whose wall pieces exist somewhere in the realm of textile, sculpture and fashion. Everything I saw was inspiring.
Shazhia Sikander: The Exploding Company Man and Other Abstractions, Sandra and David Bakalar Gallery, Massachusetts College of Art and Design. September 19 – November 26, 2011.
Sikander explores many contemporary issues through an aesthetics that draws primarily from Indo-Persian miniature paintings. The title video work is a feast for the senses, resulting in an explosion of imagery, colors and textures that kept me returning week after week to see this exhibition.
Contained, curated by John Pyper, Mills Gallery, Boston Center for the Arts, March 18 – April 24, 2011.
There were many interesting works in this show that still resonate with me today. Matthew Woodward’s jaw dropping graphite on paper drawings of decorative iron gates and Matthew Best’s diary-like “Suburban Foraging Project” sketches of edible plants he encounters throughout his travels, were phenomenal in this show.
River Street, Daniel Phillips. Public Art Installation, Boston Cyberarts Festival, April 30, 2011.
A site specific installation in Hyde Park and installed on the former site of a paper mill, River Street is an exploration of “place memory.” Moments that vanish before our eyes were captured through the use of approximately 900 photographs a minute, creating a time lapse moving image of the crumbling paper mill and the flora and fauna that live in the heavily polluted Neponset River.
Close Distance, curated by Liz Munsell, Mills Gallery, Boston Center for the Arts. July 15 – August 28, 2011.
The works of six emerging Boston area Latino artists were richly presented in this exhibition that was as culturally diverse, and distinct as were the artistic practices of the artists in it. The works were engaging and provoking and Munsell’s juxtaposition of Daniela Rivera and Raul Gonzalez allowed for a riveting experience.
Golden: Dutch and Flemish Masterworks from the Rose-Marie and Eijk van Otterloo Collection, Peabody Essex Museum. February 26 – June 19, 2011.
One of the most breathtaking and refreshing exhibitions of 2011. It was thrilling to see so many masterworks by the leading Dutch and Flemish artists of the 1600s including Rembrandt, Frans Hals and Jan van der Heyden among many others. The best part of the show was drooling over the details in the paintings using a magnifying glass provided by the museum.
Astatic, Sandra and David Bakalar Gallery, Massachusetts College of Art and Design. February 1 – March 5, 2011.
One of the sweetest surprises of 2011 was this exhibition at MassArt exploring the role of animation in contemporary art practice. Jennifer Steinkamp’s “Dance Hall Girl” had me smiling for days. Click on Dance Hall Girl to watch a short animation. Once you’ve finished watching the clip, you can hit “next” to view the additional works under “Dance Hall Girl.”
Prints and the Pursuit of Knowledge in Early Modern Europe, Harvard Art Museums. September 6 – December 10, 2011.
A mammoth of a show examining the scientific investigations of the 16th century through prints created by Northern Renaissance artists. An exhibition rich in scholarship, walking through it felt like a journey through time and space. Gorgeous.
Laurel Nakadate: Say You Love Me, Carpenter Center for the Visual Arts, Harvard University. November 17 – December 22, 2011.
I love Laurel Nakadate. This eight video installation at the Carpenter Center hit all the right spots (no pun intended) with work that explores and pushes the boundaries of voyeurism, exhibitionism, and vulnerability. Most of the works were difficult to watch, but they all touched you in ways you never thought possible. Nakadate’s videos were moving, empathetic and funny.
For You I Feel Lucky, Jessica Gath. The Hallway Gallery, Jamaica Plain. November 8, 2011.
A wonderful performance that lingered on until this very day. Click on the title for my review and be sure to check out Jessica at the DeCordova Biennial in 2012.
BONUS BEST OF 2011:
Cocktail Culture: Ritual and Invention in American Fashion, 1920-1980, Museum of Art, Rhode Island School of Design. April 15 – July 31, 2011.
What’s not to love about an exhibition on the culture of cocktails and their role in American fashion? This dazzling show featured fashion, jewelry, furniture, barware, textiles, photography and film. If you missed it, you missed a great show! Or you can catch it at the Norton Museum of Art in West Palm Beach.
Boston’s oldest remaining fire house; the Eustis Street Fire House in Roxbury has been fully restored and is now the headquarters for Historic Boston Incorporated. Built in 1859, the 2 ½ story, brick Italianate Style building was designed by the Roxbury architect John Roulestone Hall. A wood addition was added to the rear in 1869.
The fire house remained vacant for more than 40 years, but thanks to the vision of Historic Boston Incorporated, a preservation organization in the city; the building was bought, restored and re-purposed as their headquarters. Not only has this important piece of Boston history been preserved, but it has also been breathing new life to Dudley Square. Let’s hope this is just the beginning in the revitalization efforts of the other “heart” of Boston.
(If you are an email subscriber, you may need to head over to the actual blog to check out these wonderful videos)
Everyone on the Internets is loving these amazing videos part of the advertising campaign for the Pacific Standard Time: Art in L.A 1945-1980 exhibition. Everyone knows that The Evolving Critic is a Boston-centric blog, but I just *have* to share these wonderful videos featuring Ice Cube, Jason Schwartzman and Anthony Kiedis of the Red Hot Chili Peppers.
First up, Ice Cube shares his love for architecture and Charles and Ray Eames. “A lot of people think L.A. is just eyesore after eyesore, full of mini-malls, palm trees and billboards. So what, they don’t know the L.A. I know.” I LOVE THIS!
Up next is Jason Schwartzman who tries to understand art through the wise words of artist John Baldessari. “I just never had a reaction to art like that. I didn’t know you could react like that” says Schwartzman to Baldessari upon learning of Baldesari’s reaction to Mondrian’s Broadway Boogie Woogie.
Anthony Kiedis of the Red Hot Chili Peppers celebrates artist Ed Ruscha by driving around Los Angeles with none other than Ed Ruscha. “I definitely relate deeply to the idea of words being art. When I see somebody else whose got such a connection with words, I instantly feel connected to that person,” says Kiedis. “Yeah, I like looking at art that I am not in anticipation of” responds Ruscha. “You know, I feel the same way. My favorite experience with art is visceral where I see it and it just makes me go “OH! OH! OH LOOK AT THAT! OH! Something great happened right there,” says Anthony Kiedis. I LOVE this video so much too!
The Ice Cube video (which has had the most viewers) is making me want to get on a plane and check out all the exhibitions that make up Pacific Standard Time.
Laurel Nakadate thrives off of meeting strangers. Old, lonely, creepy and sexually repressed men fascinate her, to the point of making them the subject of her videos. She’s had these men beg for their lives, perform exorcisms, sing happy birthday or pretend to have a telephone conversation, all while in the same room with her. The eight video installation Laurel Nakadate: Say You Love Me at the Carpenter Center for the Visual Arts, is bound to make you feel dirty and in need of a shower (at least, the first time you see the exhibition, not so much the second or third time).
Ms. Nakadate makes exceedingly difficult work that explores and pushes the boundaries of voyeurism, exhibitionism, and vulnerability. The grittiness and raw video quality in her work adds to the discomfort that perhaps many people feel, when confronted with the creepy and awkward situations Nakadate places herself in.
In “Good Morning Sunshine,” Ms. Nakadate casts three women who play the role of teenagers and coerces each one into taking their clothes off. Nakadate shows us that a little pressure and sweet talking goes a long way. “Stand up and let me look at you…you know you’re the prettiest girl right? Take your shirt off…” she says in a silky smooth, alluring voice. “You know you’re so pretty right? Let’s see your panties…” We squirm and cringe as we watch each woman succumb to the pressure. It is as if we’re about to watch a casting couch video.
With Laurel Nakadate, we hold our breath anxiously waiting for the other shoe to drop. We expect something naughty to happen following a situation where some sort of sexual tension is explicit or implied. At times, Nakadate leads us into thinking that what we’re about to see are clips of some sort of fetish sex tape. But it isn’t, which allows for a more thrilling voyeuristic experience.
Nakadate is always in control of the situation, but I think she does not always come across as being genuinely interested in her subjects. There are times, particularly in the video Beg for Your Life, 2006 (not the video still shown above, but another segment within that same video) where Nakadate’s body language is that of a person thinking “I’m taking advantage of this old, creepy, emotionally unstable guy and he doesn’t even know what he’s in for.” These men are lonely and they need to be loved. Perhaps they see these performances as a means of being loved, but who knows? Regardless of Nakadate’s true intentions, her work is thought provoking and intense.
Her videos are compelling in part thanks to a great soundtrack that includes songs like ‘Devils and Dust” by Bruce Springsteen, “You Were Always on My Mind” by Elvis Presley, “All I Have to Do is Dream” by Roy Orbinson and Neil Diamond’s “I am,” I said” among many others. These songs further underscore the loneliness, vulnerability and hope that present themselves as recurring themes in Nakadate’s work. Her videos may be uncomfortable to watch for some, but they’re also touching, empathetic and funny. These qualities make all the squirming all worth it.
There’s something really wonderful happening right now in museums across the country. Within the past year or so, fashion exhibitions like Cocktail Culture: Ritual and Invention in American Fashion 1920-1980 at Rhode Island School of Design’s Museum of Art; Alexander McQueen: Savage Beauty at the Metropolitan Museum of Art and Arnold Scaasi: American Couturier at the Museum of Fine Arts, Boston— have all broken attendance records further stressing the demand for more fashion exhibitions in museums.
On Friday November 25th, the Institute of Contemporary Art hosted a performance by Liz Collins entitled Knitting Nation Phase 8: Under Construction, as part of the museum’s latest exhibition Dance/Draw. A textile artist, designer and professor at the Rhode Island School of Design, Liz Collins’ work also falls within the realm of fashion and installation.
Performed in its first phase (Phase I: Knitting During Wartime) in May of 2005 on Governors Island in New York, Knitting Nation employs an army of volunteer knitters who operate vintage knitting machines, and produce lengths of vibrantly colored fabric. Phase 8: Under Construction, is the second phase of Knitting Nation performed in a theater setting. The first phase, Darkness Descends, 2011 was performed at the ICA on October 16th.
Knitting Nation Phase 8: Under Construction, featured 14 female knitters wearing white shorts over fishnet stockings, short-sleeve shirts, over-the-ear headphones and gray Dr. Marten Boots. It also featured 8 knitting machines, and 80 pounds of brightly colored polyester-cotton yarn.
I was reminded of the “mill girls;” the young Yankee women who worked at the large textile mills all over New England under strenuous and unsafe working conditions. While the “working” conditions at the ICA do not in any way resemble those of the textile mills of the 19th and early 20th century America, the repetitive and tiring work the knitters performed did.
Weaving in and out of the installation, I caught about an hour and a half of this ten hour long interactive performance. Watching these knitters finish one color and start the next was exhausting, yet I caught myself unable to pull away from all the action. The body movements, the sounds created by the knitting machines, and the never-ending lengths of brightly colored yarn had me hypnotized. I lost all sense of time as I am sure the knitters did too.