Visiting my old friend, Boston

Hello, All.

I apologize for the gap between posts. I had a great time this weekend at the Kingston Road Village Art Walk. I'd like to thank everyone who came out.  It was wonderful getting to meet so many talented local artists and see their work. Now, that I have a bit of time to attend to my more administrative tasks, I can share some of the sights and experiences from my recent stint in Boston.  So, without further ado, here is a selection of photos of the city and of some art exhibits that got me jazzed. Enjoy!

  The John Hancock Bldg.

The John Hancock Bldg.

  Copley Square and Trinity Church

Copley Square and Trinity Church

  Boylston Ave.

Boylston Ave.

  Reflected Skyline

Reflected Skyline

  Under the Northern Ave. Bridge

Under the Northern Ave. Bridge

Day to Night by Stephen Wilkes was at the Robert Klein Gallery. Wilkes creates epic landscapes and cityscapes that show up to 30 consecutive hours from one fixed camera location, resulting in a spectrum of time across one photograph.

 STEPHEN WILKES Rockefeller Center, New York City (from the series Day to Night), 2013

STEPHEN WILKES
Rockefeller Center, New York City (from the series Day to Night), 2013

 STEPHEN WILKES Regata Storica, Venice, Italy (from the series Day to Night), 2015

STEPHEN WILKES
Regata Storica, Venice, Italy (from the series Day to Night), 2015

I was very excited to go to the Institute of Contemporary Art/Boston for the first time. The work I saw there was outstanding. I highly recommend a visit if you find yourself in Boston.

The first gallery housed the exhibit of Walid Raad (b.1967, Lebanon). Raad's work investigates the ways that experience, imagery and reporting of violence effect our understanding and interpretation of historical and current events.

 Walid Raad, from  Let’s be honest, the weather helped,  1998, pigmented inkjet print

Walid Raad, from Let’s be honest, the weather helped, 1998, pigmented inkjet print

 My husband checking out the Walid Raad exhibit

My husband checking out the Walid Raad exhibit

 Walid Raad, from  Civilizationally, we do not dig holes to bury ourselves,  1958. Pigmented inkjet print

Walid Raad, from Civilizationally, we do not dig holes to bury ourselves, 1958. Pigmented inkjet print

 Walid Raad,  Let’s be honest, the weather helped,    installation view ,  1998, pigmented inkjet print

Walid Raad, Let’s be honest, the weather helped, installation view1998, pigmented inkjet print

 Walid Raad,  We decided to let them say, “we are convinced” twice. It was more convinving this way , 1982/2006

Walid Raad, We decided to let them say, “we are convinced” twice. It was more convinving this way, 1982/2006

 Walid Raad,  Secrets of the   open sea,  installation view

Walid Raad, Secrets of the open sea, installation view

 Walid Raad,  Section 88: Views from outer to inner compartments_ACT  XXXI  , 2015. Installation view,  Walid Raad , Institute of Contemporary Art, Boston, 2016.

Walid Raad, Section 88: Views from outer to inner compartments_ACT XXXI, 2015. Installation view, Walid Raad, Institute of Contemporary Art, Boston, 2016.

 View from the 4th floor of the ICA

View from the 4th floor of the ICA

 Josiah McElheny,  Czech Modernism Mirrored and Reflected Infinitely,  2005, Mirrored glass case with mirrored hand-blown glass objects

Josiah McElheny, Czech Modernism Mirrored and Reflected Infinitely, 2005, Mirrored glass case with mirrored hand-blown glass objects

 Shannon Ebner,  EKS, XSYST, EXSIZ, XIS,  2011, Archival pigment prints

Shannon Ebner, EKS, XSYST, EXSIZ, XIS, 2011, Archival pigment prints

Geoffrey Farmer explores the history of the printed image and how it exists today in light of the shift towards digital imagery. His sculptural "standing images" were both whimsical and eerie. I easily could have spent hours examining them.

 Geoffrey Farmer, from  The Surgeon and the Photographer , 2009-ongoing, Paper, textile, wood, and metal.

Geoffrey Farmer, from The Surgeon and the Photographer, 2009-ongoing, Paper, textile, wood, and metal.

image.jpg
 Geoffrey Farmer, from  The Surgeon and the Photographer , 2009-ongoing, Paper, textile, wood, and metal.

Geoffrey Farmer, from The Surgeon and the Photographer, 2009-ongoing, Paper, textile, wood, and metal.

image.jpg
 Geoffrey Farmer, from  The Surgeon and the Photographer , 2009-ongoing, Paper, textile, wood, and metal.

Geoffrey Farmer, from The Surgeon and the Photographer, 2009-ongoing, Paper, textile, wood, and metal.

 Geoffrey Farmer, from  Boneyard , 2013, Paper, wood, and metal.

Geoffrey Farmer, from Boneyard, 2013, Paper, wood, and metal.

 Mark Bradford,  Untitled,  2002. Acrylic, paper-collage, and felt-tip pen on canvas

Mark Bradford, Untitled, 2002. Acrylic, paper-collage, and felt-tip pen on canvas

 Tacita Dean, from  The Russian Ending,  2001. Portfolio of gravures

Tacita Dean, from The Russian Ending, 2001. Portfolio of gravures

 Tacita Dean, from  The Russian Ending,  2001. Portfolio of gravures

Tacita Dean, from The Russian Ending, 2001. Portfolio of gravures

 Tacita Dean, from  The Russian Ending,  2001. Portfolio of gravures

Tacita Dean, from The Russian Ending, 2001. Portfolio of gravures

 Ray Navarro,  Equipped,  1990. Gelatin silver prints and plastic plaques

Ray Navarro, Equipped, 1990. Gelatin silver prints and plastic plaques

As part of my Tufts University Reunion Weekend, I got to attend Tufts Night at the POPS conducted by Keith Lockhart at Symphony Hall.

 Symphony Hall

Symphony Hall

 Tufts Night at the POPS

Tufts Night at the POPS

The most important part of my trip was the time spent with the best of friends. Thank you, you fierce, phenomenal, inspiring women!