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Jane Wang is a composer, multi-instrumentalist, and multimedia artist. She curates installation art, musical instrument construction, performance art, and video, among other domains. Wang is a member of the Mobius Artists Group, a Boston-based artist-run organization for experimental art that has provided space for the development and presentation of significant local and international works. During the summer of 2018, she curated and performed in the month-long performance series dadamobile which included dadabloge, a Tristan Tzara-influenced blog. Additionally, Wang’s knit electrical wire sculptures have been exhibited at Mobius, Zeroplan, the NY Fountain Art Fair 2011,…

Part of what makes us unique is that we contain bits of memories that belong to our histories and experiences. Yet we connect with each other and find solidarity through our being in the world. Even as people have become less religious in certain ways, they look for something beyond themselves to unite the fragments of their lives. In Temple of Mnemon, which was  located on the Rose Kennedy Greenway this summer, Anne Lilly enables us to reflect on ourselves and transcendence at the same time. Viewer-participants must be stationed appropriately to…

Recently, just after I viewed the group show Elevated at Gallery VERY in Boston which includes a painting by Candice Smith Corby and sculptures by Sheila Gallagher, Isabel Riley, and Douglas Weathersby, I had the occasion to see a solo exhibition of the works of Ruth Asawa at the Pulitzer Foundation in St. Louis. These two experiences prompted me to think about solo and group exhibitions, but mostly about what a group show accomplishes for participants and viewers. About how, as in Asawa, an iteration becomes transcendent, like listening to Steve Reich’s…

The Firmament, the final exhibition at the Hood museum’s temporary downtown space, showcased Toyin Ojih Odutola’s recent portraits in oil pastels, charcoal, and pencil. Created between 2016 to 2017, Ojih Odutola portrays two Nigerian families: the UmuEze Amara, the oldest noble clan of Nigeria, and the Obafemi, an aristocratic house of traders and ambassadors. Both houses are adjoined by the marriage of their two sons, the Marquess of the UmuEze Amara house, TMH Jideofor Emeka, and his husband, Lord Temitope Omodolle of the House of Obafemi. The intro text of the exhibition…

A panorama opens as you approach the crest of Prospect Hill in Harvard, Massachusetts. The vastness in graduated shades of distant blues and greens, immediately loosens one’s hold on time and space. A 180-degree view encompasses noteworthy peaks, from left to right, Wachusetts, Watatic, Monadnock, Pack Monadnock, North Pack Monadnock, and Uncanoonuc. Reciting aloud, the indigenous dialect becomes a timeless incantation, a chorus in common with other wayfarers. I am a traveller on the road to Fruitlands, the self-named nineteenth-century Utopian endeavor of Bronson Alcott and Charles Lane. The Fruitlands homestead is…

Helen Singh-Miller is an artist and practitioner of the Feldenkrais Method of somatic education. Grand Union (2018), her new film incorporating elements of family life and postmodern dance, will be installed at the 33rd Bienal de São Paulo this fall. Drawing on somatic education and contemporary dance, her still and moving-image work explores the relationship between visual representation and embodied experience. Singh-Miller teaches TIME in Studio Foundation at MassArt and runs the Storefront for Somatic Practice in Cambridge, MA. We spoke recently about her new film. Grand is the seen, the light,…

“The Last Days of Pompeii” is a loaded phrase, conjuring both tragedy and opulence. Multimedia artist and musician Delia Gonzalez takes these words and burns them across a wall in a sultry pink, neon script in her solo exhibition List Projects: Delia Gonazalez, on view in the MIT List Visual Arts Center’s intimate Bakalar Gallery. With its ambivalent evocation of both welcome and warning, The Last Days of Pompeii acts as a portal to Gonzalez’s world, where ancient and modern signifiers of wealth and pleasure mingle, all within an atmosphere of clairvoyant…

Tucked between Kevin Beasley’s immersive multi-room solo show and We Wanted a Revolution: Black Radical Women, 1965-85, Caitlin Keogh’s first solo museum exhibition, Blank Melody, greets viewers with a handful of large scale, vibrant paintings. From a quick stroll around the gallery, it is almost immediately apparent that this assemblage of works is different from the others that bookend it. Blank Melody is site-specific. Keogh and her collaborators, including assistant curator Jeffrey De Blois, poet Charity Coleman, and artist Graham Anderson, created something of a Gesamtkunstwerk in this space. Though Keogh’s name…