Lia Wilson reviews the site-specificity and flattening of time of S P E C T A C U L A R B L A C K D E A T H as part of the series A Long Wait.
The variances in Nicole Eisenman’s techniques, both nuanced and bold, portray her strong ability, knowledge, and integrity to the discipline of painting. Meg Hahn explains the intimacy between the viewer’s interaction with the work, and Eisenman’s authorship in what she divulges.
Jaime Gaiti reviews the exhibition Drawing Redefined, which reveals ongoing, intimate drawing processes that have been developed alongside more sculptural bodies of work.
David Martinez takes a look at Walid Raad at the ICA/Boston and examines whether audio tours enhance or detract from a viewer’s experience.
Douglas W. Milliken and Jenna Crowder preview the agony and the ecstasy of Matthew Barney and Jonathan Bepler’s epic cinematic opera, River of Fundament.
Jacob Fall and Virginia Rose investigate revelations in Elise Ansel’s Distant Mirrors at Bowdoin College Museum of Art.
Skye Priestley investigates ambiguity in form and process throughout Duncan Hewitt’s retrospective at the Portland Museum of Art.
Julie Poitras Santos on a “multi-faceted, interdisciplinary, many-years-in-the-making, pedagogical exhibition about a radical pedagogical endeavor” — the legendary and massively influential Black Mountain College at the ICA/Boston.
Emily Jane Young discusses discomfort, feminism, and masculinity at Douglas W. Milliken’s multi-disciplinary launch event of Cream River, a book of short stories, and its musical twin, the record Whiskey Dick, by Blind Pelican.
Kathy Weinberg navigates Veronica Cross’ exploration of the female figure in the complex contexts of punk aesthetics, pop culture, and the baggage of hijacking the vintage.