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This month's lineup moves viewers out of the city and into classrooms, suburbs, amusement parks, and various realms of the mind.
by Mary Sherman
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"PONDering," TattFoo TAN. Photo courtesy of artSPACE@16. |
BOSTON, Mass. - April 03, 2006 -
This month's lineup takes viewers out of the city and into a classroom,
the suburbs, an amusement park and various realms of the mind.
1. Math Counts at the University of Connecticut's Contemporary
Art Galleries, Storrs, Ct., through April 14, 2006. Seemingly
contradictory fields--math and art--join forces in this surprising premise
of a show of equally surprising quality. Frequently representing less a visual
elucidation of a mathematic problem than a passion for numbers-- and presented
as elegantly and abstractly as a beautifully formed equation-- the exhibit
includes such well-known artists as Mel Bochner, On Kawara, Bernar Venet and
Kunie Suguira.
2. Negotiating the Irrationalities at artSPACE@16,
Malden, Mass., through April 22, 2006 . Small and tightly conceived,
this consistently strong exhibit presents a thoughtful look at seven artists'
fixation with repetition. From TattFoo Tan's playful coffee filters turned into
what looks like a white cabbage patch, to Gregory King's sensitive drawings,
Kristin Zottoli's finely crafted panels, Marielle Sinclair's poignant stitching,
Karen Meninno's wrapped fabric Bound Sari Woman and Mary O'Malley fanciful abstract
works on paper, there's no getting around the show's obsessive streak--nor its
smarts. The exhibit's real knock-out, though, is Kevin Lair's painted wooden
panels, deftly installed as if custom-made for the site, but in reality able
to adapt and respond to any other.
3. Wilfred H. Croteau: Paintings at The
Center for Arts in Natick, Mass., through April 28, 2006. Most
artists prefer to work on one particular scale. If Wilfred Croteau does, you'd
never know it. As his two shows reveal, he seems as at ease with large, gutsy
Abstract Expressionist paintings as with small delicate ink drawings. His
canvases at the Center for the Arts in Natick display a remarkably assured
command of paint, marked by shifting tempos, bold color and finely nuanced
surface incident. His works at the Bakery on the Common are more intimate,
but equally expressive, acting as seamless counterpoints to Raffael De Gruttola's
memorable haikus.
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"Realms and Reveries" Kamrooz Aram.
View more
images from this month's exhibits. |
4. Tempo, Tempo! The Bauhaus Photomontages of Marianne Brandt at Harvard
University's Busch-Reisinger Museum, Cambridge, through May 21,
2006. Initially trained as a painter, Marianne Brandt switched gears
upon seeing her first Bauhaus exhibit in the early '20s. Destroying all her
canvases, she enrolled in the legendary school; and the rest, as they say,
is history. Brandt went on to design iconic Bauhaus classics--elegant teapots,
ashtrays, lamps and other decorative items. Less well known and rarely exhibited
are her photomontages. These and a number of newly discovered works, uncovered
by the show's organizer Elizabeth Otto, sum up the period's infatuation with
montage, rich in pictorial incident, clever puns and the age's rapidly changing
norms.
5. Secular/Sacred: 11th-16th Century Works from the Boston
Public Library and Boston's Museum
of Fine Arts at Boston College's McMullen
Museum of Art, Chestnut Hill, MA through June 4, 2006. Could
you ask for better timing? The works on view may not be Da Vinci's masterpieces;
but with all the hoopla surrounding The Da Vinci Code here's a perfect show
for understanding sacred and secular symbols and their sometimes intermingling.
Using texts, scrolls and decorative objects, this is a rare opportunity to view
these works, most of which after this exhibit will be placed in storage during
the MFA's expansion.
6. Degas to Picasso: Modern Masters at
the Museum of Fine Arts,
Boston, Mass., through July 23, 2006. Surprise! The Museum
of Fine Arts does have a strong collection of Modernist works. And it's quite
good. Most of the major players and periods are represented, along with a few
less obvious choices, such as canvases by Giorgio Morandi, Nicolas de Stael
and Ben Nicholson. The only drawback to this huge, sprawling exhibit, which
stretches across galleries and hallways, is that the variety of styles, range
of media, and large number of works represented is a lot to take in--especially
as the museum typically confines its permanent display of such work to the
less adventurous Lane Collection.
7. Kamrooz Aram: Realms and Reveries at Mass
MoCA, North Adams, Mass., through July 30, 2006. Everyone
likes a beautiful painting; but, as he told the writer Rebecca Weber, Kamrooz
Aram would like you to see more than beauty in his works. Born in Shiraz, Aram's
infatuation with Persian and American cultures comes through in his combinations
of layered carpet and video game motifs, which he then attacks with turpentine,
letting the colors bleed, run and pool. The resulting battlefields, however,
still resonate as eye candy. Perhaps, after more than 50 years of Abstract
Expressionist canvases being used as corporate decoration, it's hard to equate
any colorful abstraction with aggression, rage or loss.
8. Carsten Hoeller: Amusement Park at Mass
MoCA, North Adams, Mass., through October 16, 2006 .
A sure-fire way to mess with a person's mind is to slow down, speed up or
warp their pace of life. A few years back, Carsten Holler worked such magic,
creating a bobsled like shoot to whisk viewers from the Institute of Contemporary
Art's third floor to the basement in the wink of an eye. More recently he
created an Alice-in-Wonderland room of gigantic, spinning mushrooms, hanging
down from a ceiling like some drugged-out hallucination. Here, Mass MoCA's
cavernous galleries are filled with a host of carnival rides, eerily unmanned
and slowed to a snail's pace. The fun house flavor of his works has been turned
down a notch, but the disorienting sense of alienation remains.

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