George Nick: Still loose and experimental

In the Boston Globe Cate McQuaid reports that George Nick, one of the teachers at Massachusetts College of Art when I got my BFA back in the day, may be 82, but he’s still growing as a painter. “His exhibit at Gallery NAGA is alive with texture, and tone, and particularly with light, as if … read more… “George Nick: Still loose and experimental”

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The New York School at Bowdoin College

Surveying Lower Manhattan’s disparate art world in the 1950s and early 1960s, “New York Cool,” at the Bowdoin College Museum of Art in Brunswick, Maine, features over 80 paintings, sculptures, drawings, and prints culled from the collection of New York University. While the post-war period witnessed tremendous creative ferment in the New York art scene, … read more… “The New York School at Bowdoin College”

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Line: Evidence of movement and purpose

In Fearful Symmetry, Northrop Frye wrote that a “line is a denial of all inertia and paralysis, all doubt and hesitation…(it) is both movement and purpose: whatever the medium of the art, the line exists neither in time or space, but in their eternal and infinite union.” Poet Susan Goldwitz has curated a show about … read more… “Line: Evidence of movement and purpose”

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Cindy Bernard: Can you hear me?

In the Boston Globe, Cate McQuaid writes that Cindy Bernard‘s poignant show at Boston Center for the Arts’ Mills Gallery evokes the far-flung community of ham radio operators who kept in touch long before the Internet and blogging made world-building so common. “Artist Cindy Bernard’s grandfather, Bill Adams, got his license to operate a ham … read more… “Cindy Bernard: Can you hear me?”

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Chapuis and Mattera: “Stop thinking and just gaze on something beautiful”

In the Boston Globe Cate McQuaid reports that some artists make art not as a means of provocation or cultural commentary, but for beauty’s sake. “Katharina Chapuis, who has a show at Alpha Gallery, and Joanne Mattera, who has encaustics (paintings made with pigmented wax) up at Arden Gallery, work in this realm. Both make … read more… “Chapuis and Mattera: “Stop thinking and just gaze on something beautiful””

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“The wall drawing is a permanent installation, until destroyed”

After nearly six months of intensive drafting and painting by a team of some sixty-five artists and art students, “Sol LeWitt: A Wall Drawing Retrospective” is fully installed at Mass MOCA. Conceived by the Yale University Art Gallery in collaboration with the artist before his death in April 2007, the project has been undertaken by … read more… ““The wall drawing is a permanent installation, until destroyed””

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Painting the Polar landscape: Majesty and awe

In the Boston Globe Sebastian Smee reports that “To the Ends of the Earth, Painting the Polar Landscape” at the Peabody Essex Museum in Salem “shows us what happened when 19th- and early 20th-century painters finally decided they were ready to see – and get excited about – the polar regions. Assembled and researched by … read more… “Painting the Polar landscape: Majesty and awe”

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Cristina Toro’s cheery dissonance

In the Boston Globe Cate McQuaid reports that “Toro’s tender, bright, riotous canvases at LaMontagne Gallery captivate with their abundant detail and their range of references. One painting may include nods to Victorian valentines, Turkish decorative arts, needlework, and Josef Albers’s color theory. Toro, a Puerto Rican-born artist who now lives in upstate New York, … read more… “Cristina Toro’s cheery dissonance”

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Joan Snyder’s new work in Boston

MacArthur Foundation fellow Joan Snyder, 68, presents new paintings at the Neilsen Gallery in Boston, and ten politically-charged photocollages at the Danforth Museum in Framingham. In the Boston Globe, Cate McQuaid reports that Snyder’s paintings at Neilsen don’t merely gush; they have a bristling intelligence. “She’s essentially an Abstract Expressionist with a feminist agenda; in … read more… “Joan Snyder’s new work in Boston”

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Rouault’s comedy of errors

The current exhibition at the McMullen Museum of Art reveals Georges Rouault’s keen sense of disjunction, unintended consequences, and ironic reversals. This irony (a sometimes bitterly satirical one) was often glossed over by a conventional piety that suffused the interpretation and presentation of his work from the time of his death (1958) until the centenary … read more… “Rouault’s comedy of errors”

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