Dustin Zemel’s video installation wickedly satirizes TV news.
Visual Arts
In Shred of Lights, one of
Worksound’s best ever shows, five artists examine the acts of
transcription, documentation and commentary, and their relevance to
contemporary life. At the show’s
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Visual Arts
No matter how the wavelike vicissitudes of the art world
swell and trough as decades pass, artists keep reaching back to
geometry. For Damien Gilley, geometry beckons in 1980s-flavored
architectoni
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Arts & Books
WW art critic Richard Speer previews tonight's First Thursday openings.
Horia Boboia
In Horia Boboia’s last installation in the Nine project space, he deconstructed an ARTFORUM magazine by cutting the pages and flipping them, weaving an arbitrary but oddly meaningful narrative. For this go-round, entitled I Am Sorry, he returns to one of his first loves, painting, with a series of dip...
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Three installations embody the spirit of TBA at its best.
Visual Arts
Imagine you’re an office clerk hunting for a specific
manila folder. You open the filing cabinet and pull the drawer out, but
to your stupefaction, the drawer just keeps coming out, out, out, thre
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Carrie Iverson and Stephen Scott Smith deconstruct the mysteries of memory.
Visual Arts
When we gaze back over our lives, whether through
rose-colored or gray-tinted glasses, we see either sunlit halcyon
afternoons or dark nights of the soul filled with “What if…?” and
regret. T
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Arts & Books
WW art critic Richard Speer previews tonight's First Thursday openings.
Stephen Scott Smith
In Burlap 2B, conceptual artist Stephen Scott Smith reflects on his young adulthood in the 1980s. His suite of drawings captures the era’s strange melange of military-industrial machismo (witness his depiction of Ronald Reagan), look-the-other-way attitude toward HIV/AIDS (see again Ronald ...
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Visual Arts
To look at an alphabet other than our Roman
script—Cyrillic, Arabic, Chinese, Devanagari—is to be transfixed by
characters divorced from their content. For millennia, we humans have
been commin
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Visual Arts
Michael Endo’s haunting show at False Front this month, Pain Scale,
is compelling for how uncomfortably it stretched the meticulous
painter’s working methods. Endo, 32, normally lavishes time on
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Visual Arts
This month, two local artists wrestle with divergent but equally mythic conceptions of the great American road. In Tempus Incognitus,
photographer Brad Carlile’s striking exhibition at Eva Lake’s
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