The instructions are simple: “Tap Here,” accompanied by the ubiquitous graphic of a Charlie Card. Pat Bordenave, a Boston resident who follows the local art scene, approaches the futuristic kiosks in the Boston Center for the Arts plaza, taps his card, and is bathed in light from a disco ball in response.
Multiple times a semester, the faculty at the Carpenter Center are charged with filling the building’s concrete shell with a host of works ranging from archived footage and films to curated events in which special guests, themselves veritable giants of the art world, explain their process in the “Artist Talks” series. This constant rotation of artistic material typically showcases the work of those not immediately affiliated with the university. The yearly visiting faculty show, however, gives students a chance to sample their professors’ wares, so to speak, before attending their lectures.
Unlike the institutionalized mediums of painting, sculpture, or, more recently, installation, public art is a less common art form.
Through the concise visual imagery, the powerful perspective of an outsider, and the narrative that attempts to honestly reflect the quotidian struggles of those impacted by the Arab-Israel conflict, Delisle’s latest travelogue is an eye-opening glimpse into a conflict more famous for its headlines than its human dimension.
"Monstrous Doubles"comes to the Adams Pool this Friday.
Rocket Juice & the Moon takes the listener through a re-interpretation of rap, rock, funk, and afrobeat.
Conductor Lidiya V. Yankovskaya is music director for Lowell House Opera's upcoming production of "Snegurochka."
Although the album displays Spalding’s strong musicianship and composition, it lacks cohesiveness and emotional depth, and this Jill of all stylistic trades masters none.
"Experience Economies 6: Innovate or Die" takes attendees around Boston centers of innovation and highlights the work of artists and scientists.
Annette Lemieux debuts "Unfinished Business" in the Carpenter Center for Visual Arts