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Letting The World In


“The distance between the art-world and the world in which most of us live remains vast.” – Lure of the Local by Lucy Lippard

Location, location, location. The right place at the right time. Conventional wisdom admonishes attention paid to being well-situated. For artists, this usually means settling in New York City or Los Angeles…or Chicago, Boston, San Francisco, Austin and the like. But what if you find yourself living in what appears to be the wrong place at the wrong time? A location, but not of the enviable type.  Continue Reading →

Sage Sohier, Doris & Debie, with Junyette, Los Angeles, February, 1987

Sage Sohier: At Home With Ourselves


At Home With Ourselves, Sage Sohier’s restaged exhibition of photographic portraits of LGBT couples from the late 1980s, is both forcefully political and vulnerably personal. Sohier found her subjects by advertising in newspapers and networking. She roamed from Massachusetts to Florida to California, capturing mostly-innocent domestic scenes. Continue Reading →

Vicki Crayon, "Untitled III, Quincy, MA" (2013) archival pigment print, 36" x 24"

Vicki Crayhon: Captioning Desire


Susan Sontag famously bemoaned the photograph’s susceptibility to words. Supplanting the ambiguity of the image with the certainty of narrative, supplementary text in Sontag’s theory of photography provides a key entry point for ideology. The work of Victoria Crayhon might be thought of as an extended deconstruction of this relationship. Rejecting the idea of autonomous or “uncorrupted” images, the photographer’s unique method of working actively elicits the productive relationship that words maintain to photographs by inviting them into the frame. Exemplary of this dynamic is her Thoughts on Romance from the Road series in which Crayhon uses the marquees of abandoned drive-ins and vacated movie theaters to display personal messages, which are then documented by the camera in unassuming long-shots. Continue Reading →

Tony Csavas, "False Self or True Self?"

Tony Csavas: True Self


I wish that I could tell Tony Csavas how much I admire his work. True Self, his painting and drawing show at Boston University’s Sherman Gallery, is phenomenal. Some paintings (and drawings) are purely representational studies of everyday objects and street scenes. Other paintings are more symbolic, with simplified compositions and dramatic color choices. The works read like Haikus, a few lines that use identifiable form as context for time and mood. This exhibition is Tony’s day-to-day life in Charleston: the bridges that ring the city, the objects that clutter his apartment, and the moments in between. Continue Reading →