Nothing is left to the imagination until everything is: when information is obsolete, or when there is strategic overflow. by Julien Langevin
Creating public art — and public art conferences — requires deep, internal work as much as it does communication, planning, passion, and dedication. by Jenna Crowder
Lustfully saturated with lucid color and lively tricks of the eye, Elizabeth Kleene’s Tadow Island at Gallery 49 allows viewers to experience an external oasis. by Julien Langevin
On announcing Nat May as the curator for the 2018 PMA Biennial, PMA Deputy Director and Chief Curator Jessica May says, “His research is meticulous, his eye is keen, and his curiosity is unbounded.”
TEMPOart aims to understand the concept of the American dream through a summer lineup of temporary public art installations.
The intangibility of memory, the diversity of grief, and the anguish of remembrance are laid bare for the public in “Anguish: The Misgivings of Remembrance” at the ICA at MECA. by Veronica A. Perez
PLATFORM PROJECTS/WALKS positions Julie Poitras Santos as artist-as-curator, who has included fifteen artists and practitioners who’ll be leading walks, giving lectures, discussing readings, and presenting video works through August 14.
Ken Ueno’s Fortress Brass employs the musical and architectural languages of wartime to imagine a friendlier, more beautiful alternative.
Meg Hahn talks with Able Baker Contemporary’s co-owners Stephen Benenson and Hilary Irons about the space and its current exhibition, American Optimism.
“You can’t push it away. You can’t go under. You have to be in it.” Anna Wolfe-Pauly and Erin Colleen Johnson talk about Wolfe-Pauly’s project for the series A Long Wait happening on Fort Gorges this summer.