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...Institute of Contemporary Art’s (ICA) latest exhibition, “The World as a Stage,” opens with a most fitting visual prologue. Towering over viewers upon their entrance, Rita McBride’s “Arena” transforms the gallery into a theater for the modern art below. Inside the curve of the delicately skeletal set of amphitheater seating, museum patrons interacting with art displace ordinary theater performance on the imagined stage. Taken at face value, “Arena” is a piece of art that makes the life around...
...display at the List Visual Arts Center at MIT through April 6, 2008. The exhibit features seven of Claerbout’s works, ranging in duration from three and a half minutes to nearly fourteen hours. While few people will have fourteen hours to devote to the exhibition, viewers should plan to devote a good deal of time with the works. One of his explicit artistic purposes is to explore the passage of time, which can only be understood after the viewer passes time with Claerbout’s art.One of the earliest and most fascinating installations...
...this just goes to show that thirty indelible seconds of video can cast surprisingly sprawling aspersions on even the most monolithic resume, the most hallowed bibliography. Therein lies YouTube’s appeal: seeing is believing, and even the unlucky lapse stays with its viewer longer than a glowing profile in Parade magazine. Harvard’s aspirants, be forewarned: make sure those cameras...
...nostalgically recalls his innately photogenic presence, and he isn’t wrong. At 23, Baker was a jazz Adonis, with an air of mystery and rebellion not unlike James Dean. These images are hypnotic enough that as Weber cuts to footage of a considerably older man, the viewer can hardly believe that it is Baker himself, making the transition into the sordid tale of his undoing all the more chilling.The intervening years weren’t kind to Baker. The film juxtaposes those early photographs against a man whose charisma and talent concealed a monster that...
...purpose of making the dolls more available for admiration. But viewers’ appreciation then becomes centered more on the technique and artistry of the photographs themselves, rather than the beauty of the traditions and culture represented in the carvings. Ducharme’s work also renders viewers far more susceptible to a linear understanding of the beliefs surrounding the dolls. Rather than leaving the artistic merits of the Hopi dolls to the interpretation of the outsider, who draws his own conclusions from a piece based largely on personal sentiment, Ducharme acts as a sort of middleman. By presenting Hopi...