Walking through SCMA’s newest exhibit, I couldn’t get the chorus of The Who’s “Baba O’Riley” out of my head: “Don’t cry / don’t raise your eye / it’s only teenage wasteland.” The song’s otherworldly warning seems to be woven throughout the artwork in “Plastic Entanglements: Ecology, Aesthetics, Materials,” an exhibit that documents the past, present and future of plastics and human existence. The 20th century got to enjoy the thrilling innovations of plastic, inadvertently creating an archive of the costly convenience of daily life. Now, the upcoming waves of youth will inherit what is left of this material’s legacy: an impending wasteland. “Entanglements” confronts the viewer with the medium’s metamorphosis, asking whether the possibilities of plastic can ever make up for the destruction it wreaks.
Posts tagged as “exhibit review”
As the spring semester starts and the temperature continues to drop, it’s tempting to never leave your dorm room. Take a break from studying and venture out to Smith’s Museum of Art, where several of this month’s exhibits will take your mind off of the freezing weather outside.
“Concinnitas” was a term used by 15th-century scholar and architect Leon Battista Alberti to describe beauty in architecture, which he believed existed when — and only when — parts of a building cohered to a harmonizing whole. It was also used to name The Concinnitas Portfolio, to which Professor Pau Atela responded in his Re(Creations) and MathStudio. Both the portfolio and Atela’s work will be displayed at the University Museum of Contemporary Art at UMass until Dec. 9.
Upon opening the doors to the exhibit, you immediately lock eyes with a pale woman in a turquoise robe who looks out from her ornate frame with a small smile. She is one of the few in the gallery who will actually make eye contact with you; the rest of the women gaze demurely at things out of sight as if they are wishing for something their gilded world cannot give them.
“The answer.”
The room is abundant with mixed media, geometric patterns and vibrant colors, but this phrase is what stands out in particular while walking through the Nolen Art Lounge. It is on one of the several collages in the gallery, bold against a backdrop of urban architecture, floating limbs and plates of food. And the answer is just as ambiguous as the question artist Ronnie Schwaller seeks to ask with this collaborative exhibit, “Im(permanence).”
When she was eleven, Yao Wu was pulled aside by her mother and faced with the critical decision that every Chinese student has to make.