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Thibault Roland, Prudential, 2015, inkjet print.


NEW ENGLAND’S CONTEMPORARY CHARACTER

BOSTON ATHENAEUM’S WORKS ON PAPER Franklin W. Liu Nestled with quiet dignity on Boston’s bustling Beacon Hill since 1849, and just a stone’s throw from the Massachusetts State House, is the Boston Athenæum, one of the oldest, manifestly resourceful, independent libraries in the United States. Walking within its hallowed halls, with no need for reminder, […]


Ghetto police escorting residents for deportation, 1942-44.


HENRYK ROSS AT THE MFA

BEARING WITNESS TO TRAGEDY Elayne Clift I was born a Jew on March 20, 1943. One week after 3,000 people just like me Perished in Cracow, I began to live. I began to live one month before How many Jewish lives ended in Warsaw? In Budapest? In Bergen Belsen? But for an ocean, and other […]


Henri Matisse (French, 1869–1954), Interior with Egyptian Curtain, 1948, oil on canvas. The Phillips Collection, Washington D.C., © 2017 Succession H. Matisse/Artists Rights Society (ARS), New York. Courtesy, Museum of Fine Arts, Boston.


MATISSE IN THE STUDIO

THE ARTIST’S EYE DRAWS US IN Suzanne Volmer “Matisse in the Studio,” at the Museum of Fine Arts, Boston through July 9, is the MFA’s spring/summer blockbuster. The show, jointly organized by the MFA and the Royal Academy of Arts, London in partnership with the Musée Matisse, Nice, includes “rare pairings of Matisse’s masterpieces with […]


Frank Stella, Extracts from Moby Dick Deckle Edges, 1993, lithograph, etching, aquatint, relief, and screenprint on white TGL, handmade paper, 34” x 42”, National Gallery of Australia, Canberra, purchased with the assistance of the Orde Poynton Fund 2002. © 2017 Frank Stella/Artists Rights Society (ARS), New York.


FRANK STELLA AT ADDISON

A RETROSPECTIVE ODE TO FEARLESSNESS Flavia Cigliano The current retrospective of prints by Frank Stella at the Addison Gallery of American Art at Phillips Academy is stunning, spectacularly revealing the evolution of the artist’s printmaking over three decades, from the minimalistic geometric “Black Series 1” (1967) to the visually cacophonous “Near East Monoprints” (1999-2001). Organized […]



Welcome

Welcome Brian Goslow Welcome to our May/June 2017 issue — one that we hope will serve as the blueprint to the start of your New England summer art wanderlust. We had already planned to cover the opening of the Frank Stella “Prints” retrospective at the Addison Gallery of American Art, but when the offer came […]


Rachele Buriassi and Roddy Doble in Jiří Kylián's Wings of Wax; photo by Rosalie O'Connor, courtesy Boston Ballet.


THEATER REVIEW: Boston Ballet’s Kylián/Wings of Wax at the Boston Opera House

Balanchine’s “Donizetti Variations” opened a three-part program by teaching our wings to soar to Gaetano Donizetti’s dreamy, sprightly, symmetrical melodies from his 1843 opera, “Don Sebastien.”

The vigor of the music belied our modern stereotypes of the classical as bland, of the romantic as naïve. And the dancers inhabiting Donizetti’s lively, questing inspirations with quick-silver turns seemed to grasp myriad opportunities to soar or slow, improbably, just before the musicians in the orchestra pit announced them!


Pedro E. Guerrero, I’m an Architect, Taliesin, Spring Green, WI, 1947, silver gelatin print. © Pedro E. Guerrero Archives. Courtesy of Edward Cella Art +Architecture Los Angeles, CA.


Guerrero and Wright: Architecture Stories: Photographs by Pedro E. Guerrero at The Art Gallery at Eastern Connecticut State University

The year was 1939 — when the then 22-year-old Pedro E. Guerrero, his portfolio in hand, arrived at Taliesin West in Scottsdale in search of a job. Frank Lloyd Wright, in the midst of building the campus, needed someone to document the process. Despite the paltry pay and lack of job security, Guerrero signed on.

Wright had made an uncanny choice in hiring the young man who’d just narrowly escaped the segregated schools and pervasive prejudice of Mesa, Ariz. Guerrero’s intelligence and quick wit would stand him in good staid with the boss, and his remarkable portraits of Wright suggest the ease with which the two took to each other’s company. There was no question but that Guerrero would play a significant role in reinvigorating Wright’s career; his iconic photographs continue to exert a force.


Juan Roberto Diago, Sin título (Untitled), 2011


Diago: The Pasts of This Afro-Cuban Present” at The Ethelbert Cooper Gallery of African & African American Art

So many insights in art, in scholarship and in life derive from accidents of attention grasped by some intuition insisting sotto voce, “Hey! This is important!” For me it was a prompt to walk once again through the first retrospective exhibition of the Afro-Cuban artist Roberto Diago currently at the Ethelbert Cooper Gallery of African and African American Art — though I had already Velcroed and snapped my overshoes against the snow waiting in Harvard Square.


Gail Sauter, Just Hanging Out, oil on linen.


SHAKEN AND STIRRED & SHAKE IT UP AT THE COPLEY SOCIETY OF ART

I found myself at the opening reception for the Copley Society of Art’s 2017 Winter Members Show, “Shaken and Stirred,” strangely resonating with its title. I seemed to have left my wife back at the Park Street Red Line station under a misunderstanding too complicated to explain, so I suffered some suspense while waiting for her to reappear.


Yayoi Kusama, Dots Obsession (Love Transformed into Dots), 2007.


Wanderlust: Yayoi Kusama: Infinity Mirrors at the Hirshhorn Museum & Sculpture Garden

The retrospective, “Yayoi Kusama: Infinity Mirrors,” at the Hirschhorn Museum in Washington, D.C., until May 14, includes paintings, three room-size installations (“All the Eternal Love I Have for the Pumpkins,” “Chandelier of Grief” and “Where the Lights in My Heart Go”) and sculptures. They provide a complete lexicon of her motifs, color, layering, light, reflection and exploration of the body and the celestial universe.