The marginalization of weeds
‘Grave/Grove’ is one of three exhibitions on display at the MIT List museum’s reopening. The installation is a conscientious representation of an important societal issue that manages to be both thought-provoking and aesthetically pleasing.
Painting a clearer picture of Japanese culture
The Harvard Art Museums are currently displaying their largest exhibit yet: a collection of over 100 Japanese paintings from the Feinberg collection. With so much to see, there’s guaranteed to be something that appeals to anyone.
Art requires research too
Albee’s exhibition features a collection of photographic prints and a video-based installation. The artist reflects on the influence that Robert Blanchon had on her during their brief, one-year friendship.
At the intersection of art and technology
Alicja Kwade’s ‘In Between Glances’ is on display at the MIT List Visual Arts Center. Featuring unique sculptures such as her ‘Reconstituted Objects and A Light Touch of Technology,’ the exhibit is a perfect fit for the venue at the intersection of art and technology.
Beautiful footprints
With “Love is Calling,” Yayoi stamps another beautiful footprint into the sandy beach of her oeuvre. The exhibit is a piece of environmental art that attempts to immerse viewers, who enter a room that contains only three things: spotless mirrors on every surface, tentacle-like sculptures that dance with neon gradients, and themselves.
Fine wine in a faience lion
For time periods from which extant written records are few, drinking and serving vessels can serve in an illuminatory capacity. Assembling an exhibition dedicated to such artifacts, as Susanne Ebbinghaus has done at the Harvard Art Museums, provides an unparalleled opportunity for cross-cultural and cross-temporal analysis of the tradition of animal-shaped vessels that persisted over three millennia, from Greece to China.
‘Sport death, only life can kill you’
The unapologetic, powerful imagery of MIT’s oldest dorm on display for all to see.
‘At Sea’ exhibits intriguing photography
The self-evident materiality of these works, and their implicit manmade-ness, serve as a constant reminder of mortality. But these memento mori are not distressing. They arise not from fatalism, but an acceptance of the natural order.