Greg Cook is an arts reporter and critic for WBUR.org, The Boston Phoenix and The Providence Phoenix. His writing has also appeared in The Boston Globe, Art New England, Juxtapoz Magazine, PoetryFoundation.org and several newspapers in suburban Boston. He is the founder of The New England Journal of Aesthetic Research, which won a 2009 Creative Capital | Warhol Foundation Arts Writers Grant.
Cook is a leader in fostering art making in the New England. He oversees the New England Art Awards, an annual open-source, community project to honor art made in the region. And his writings sparked a community effort that got Boston’s Museum of Fine Arts to relaunch its Maud Morgan Prize for local women artists in 2011 after the museum neglected to award it for five years.
Cook teaches at Montserrat College of Art. His own pictures have appeared in fancy publications like Nickelodeon magazine, Publishers Weekly and The Believer, and have received honorable mentions in the 2006 and ’07 editions of “The Best American Comics.” He’s exhibited his artwork in Italy, France, Canada, the United States, and the bathrooms of Boston’s Museum of Fine Arts.
Despite all this apparent liveliness, Wikipedia once declared him dead.
The Museum of Fine Arts plans more regular performances and to begin acquiring performance art for the museum’s permanent collection.
Thousands marched down a rainy Dorchester Avenue in this morning’s 17th annual Mother’s Day Walk for Peace, many of them families remembering loved ones murdered in Boston and calling for an end to gun violence in the city.
“The way a DJ would do it with sound—live sampling, cutting, remixing—he does with imagery,” says organizer Maggie Cavallo.
“What would the world look like if modern technology were available when steam was king, corsets were mandatory, and man was just learning to fly?”
Rather than the Institute of Contemporary Art acting as a leader in our community, it acts as if organizing its “Foster Prize” roundup of local talent is a chore.
Since 2009, David H. Wells has been recording the human cost of our Great Recession that began the year before by photographing the things people left behind when they abandoned foreclosed homes across the country.
“Nobody did satire like the Soviets. They could really rip you,” says Jim Lapides of International Poster Gallery, which is exhibiting Soviet WWII posters.
“The goal of this parade is to give hope to all the anti-capitalists in this world that a better world is possible,” said an organizer of the “Funeral March for Capitalism.”
Savannah repeatedly drew Hilda Belcher back in the 1920s and ’30s, to paint prominent Southern citizens and African American life in churches and on front porches.
From Versailles to Boston’s Christian Science Plaza to New York’s 9/11 Memorial, Brookline author surveys forests in the city.