J.L. Bell makes the case that the painting the Tate Gallery acquired last year is not really by John Singleton Copley:
I can imagine Copley being influenced by the recent “conversation pieces” by Zoffany and others. He might have studied examples, even sketching figures from them in his style. And then he tried out the form with his own family as models, creating the biggest group portrait he’d made to date. But I’m not convinced he took an one-off side journey into the style of a second-rate provincial portraitist.
The announcement comes after years of pretty much every media outlet in town cutting back on arts coverage.
Chris Templeman's Make and Take is a 3D printer that aims to spit out 2,000 plastic replicas - which the public can take - of a Chinese rooster at the MFA.
The printer uses spools of plastic filament to assemble the roosters. As roving UHub photographer Christina Michaud discovered this afternoon, though, one of the spools completely unraveled.
The Harvard Gazette interviews Jane Kamensky, author of a new biography of John Singleton Copley (you know, as in the Square), who actually left Boston for England in 1774 and never returned. She discusses that famous painting of the kid who looks like he's about to be eaten by a shark:
Brook Watson had been a merchant’s boy, probably a cabin boy at first and then an Atlantic coastal merchant, spending time in the waters of Havana where this happened to him in the 1740s. He was swimming and was flayed and nearly drowned. The incident allowed Copley to paint something that was incredibly suspenseful and that was exhibited at an incredible moment of national suspense about the fate of Britain.
Free admission on Martin Luther King Day will do that, as Melissa Sullivan noticed.
A dilapidated house on Green Street in Jamaica Plain has become a canvas for street artists while its new owner figures out just what to do with the property. Read more.
M couldn't help but notice the bright orange people hanging onto inner tubes bobbing in Fort Point Channel this morning. Begin Fort Point and all, it is, of course, art, specifically, SOS (Safety Orange Swimmers):
S.O.S. invokes the Fort Point Channel Basin as a metaphor for the seas across which people have always traveled in search of shelter, freedom, prosperity and safety; seas in which they have often lost their lives. The Swimmers symbolize the world’s refugees and migrants, and the long history of global migration on which our city and nation are largely built.
Artists Ann Hirsh & Jeremy Angier hope to provoke discussions about the changing identity of the Channel by asking: how are we, a city in the midst of an economic boom, responding to the current global refugee crisis?
The MFA is hosting the first of four all-night
raves "mfaNOW" contemporary-art events that includes dancing and "food trucks and lawn games, live music and DJs, lectures, artist demonstrations, performance art."
Only problem is more people showed up than the museum expected/can handle ... Read more.
Ramirez Jonas, working with Boston performers, presents a billboard of constantly changing pledges - yours, mine, scientists’, and those of our presidential candidates. Together we’re making a piece of art about promises, those contracts we with make with each other and with ourselves, and the potent speech acts that keep a society together
Greg Cook ranks 50 pieces of public art in Boston and explains his decisions.
There is a cool "kon tiki" looking thing floating in the Fens Lagoon. Any idea what it is? Can't find any reference in the normal media.
Mayor Walsh today annnounced a ten-year program, called Boston Creates, to "weave arts and culture into the fabric of everyday life" in the city.
The city will set aside money each year for public art projects - 1% of each year's spending on capital projects. One of the first areas to benefit will be Hyde Square in Jamaica Plain, where the city Public Works Department will spend $100,000 on public art to go along with a planned road upgrade. Read more.
- 1 of 8
- next ›