Results tagged “ica”
The Institute of Contemporary Art (ICA) features programs profiling top American and British commercials in December. The "Art and Technique of the American Commercial" and "Award-Winning British Commercials" will be screened in the Barbara Lee Family Foundation Theater. Tickets: $10, $8 for members, students, and seniors; on sale at 617-478-3103 or www.icaboston.org.
The Institute of Contemporary Art/Boston (ICA) presents the work two finalists for 2010 James and Audrey Foster Prize from Thursday, Oct.ober 28 to January 17, 2011. Rebecca Meyers of Cambridge presents reviews the collapse of East Germany. Tickets are $10 general admission, $8 for students and members. For tickets, visit www.icaboston.org or call 617-478-3103.
The 3rd Annual Armenian Film Festival of Boston is scheduled for October 29-31 at the Institute of Contemporary Art/Boston (ICA). The Festival is sponsored by the ICA and the Armenian Dramatic Arts Alliance.
Photo commentary by guest contributor Scott Williams.
We already talked about Dr. Lakra at the ICA, a new tattoo-focused exhibit where demons mix with donkeys in a clash of culture with culture and ink with skin—and other materials. But we hadn't mentioned Under the Skin: Tattoos in Japanese Prints, which opened in April at the MFA. Where Dr. Lakra represents a fundamentally countercultural take on tattooing, the MFA exhibit takes a historical tack, showing the development of Japanese tattooing from 19th century woodblock prints of tattooed martial artists (from China, no less). Utagawa Kuniyoshi's work plays a significant part in the exhibit, depicting the organic relationships between skin and surroundings in flower and wave-themed tattoos..
Musician Owen Pallett (whom we interviewed about his latest work last week) won some major points with his audience last Tuesday at the Institute of Contemporary Art by dismissing the fact that Pitchfork recently gave his newest album, Heartland, an 8.6 rating.
Owen Pallett is a singing, violin-looping one-man orchestra from Toronto. Though a self-identified creatine-chugging "jock," he used to perform and record as Final Fantasy, a name swiped from an interminable video game franchise.
If you liked the ICA’s Shepard Fairey exhibition last year, or the Damián Ortega show this year, you’ve gotta check out their current romp featuring the 30-something artist and tattooist known as Dr. Lakra. Like fellow Mexico City native Ortega, Lakra has built a career on making something out of nothing, according to ICA curator Helen Molesworth; like Fairey, that “nothing” usually takes the form of found media and images that the “extraordinary draftsperson” makes his own. There are pin-up girls gone wild with Lakra’s painted-on all-over tattoos, Mexican eminences given the particular Maori facial tattooing reserved for people of special significance. Plastic babydolls and mannequin parts get inked up for real: apparently plastic reacts to the tattoo gun much like human flesh does.
It may seem odd that John Waters, the master of colorful camp, would be selected to interview Roni Horn, a self-described "conceptual" artist who creates simple, contemplative works: line drawings, blocks of glass, sheets of metal. On its face, the contrast is stark, but these artists actually complemented each other quite well in conversation, Waters' interest in film bringing out contrasts between Horn's various media and Horn's somewhat dry demeanor pairing nicely with the more flamboyant Waters. Both touched repeatedly on a common theme of audience, stressing the necessity of having a viewer to complete the artistic cycle, and discussed numerous threads of artistic creation and appreciation.
Even as film loses its traction in commercial moviemaking, a new flowering of artists has returned experimental film to the forefront of artistic expression, and the Institute of Contemporary Art will showcase a smattering of work by these filmmakers, including a healthy helping of films by Boston-area artists, tonight when it hosts The International Experimental Cinema Explosion.
There's no better way to meet Roni Horn's art than to see her current exhibition at Boston's Institute of Contemporary Art. Though the mid-career retrospective Roni Horn aka Roni Horn was actually curated by the Whitney in New York and the Tate Modern in London, the show looks like it was made for the ICA. In this Bostonist's experience, no other exhibition has used the ICA's unique space quite as effectively as this one does.
Boston's Institute of Contemporary Art can hardly be called a bastion of modernism, but that is exactly what it looks like in this intriguing photo by Nathan Tia. We've been running a lot of architectural photography lately and were excited to see such an abstract, clean-lined example of the genre.
Marble Tulip Juicy Tree did a great job composing this shot at the ICA. The reflection gives you a symmetrical look and feel, and it gives the shot a feeling of great space. The people in the back help draw you into the photo and there is enough of the outside world in the reflection, to allow you to explore.
Shepard Fairey's trial on 14 counts of vandalism ended today when Fairey entered into a plea agreement, Suffolk County prosecutors say. Fairey pleaded guilty to one count of vandalism from 2000 and to two counts of vandalism from 2009. As a part of the agreement, Fairey must pay $2,000 to a graffiti clean-up company and may not possess "the tools of the trade"—graffiti related materials—while in the city of Boston. Fairey's "spokesman" Jay Strell said in a press release that "Shepard is very pleased to have the Boston case behind him and return his attention to making art." The ICA, which had its opening gala for Fairey's current exhibition interrupted by his arrest, plans to have a make-up party on July 31. The pricey tickets to Obey Experiment REDUX have, like Fairey himself, sold out.
Dan Deacon and the Wham City crew compose the most irresistible arts community in America, consistently producing great music and art and promoting it in new and challenging ways. So it pains Bostonist to no end when he discovered the answer to the following equation last night:
Experiment + ICA = Epic Fail
Coming from North Adams, western Mass.'s wilderness outpost of contemporary art, the Books delivered their thoughtful concepts to the ICA on Friday night* via a Postal Service of gentle electronica and indie (soft) rock boy vocals. Nick Zammuto and Paul de Jong also brought several closets' worth of tightly-edited found footage to match their pop musique concrète. A mood of inexplicable optimism pervaded, in the split-screen video of animals stampeding forth into an avant-garde National Geographic documentary, in the birdsong stitched together into makeshift jazz, and the virtuosic solos built from archived laughter.
Continuing our coverage of last weekend's Design as Social Agent conference at the ICA, today we summarize "Iron Fists: Branding the 20th-Century Totalitarian State," a talk given by Steven Heller based on his book of the same name, and the culminating talk "Something Borrowed, Something True," which explored issues of appropriation in art.
The Design as Social Agent conference yesterday at the ICA addressed the role of art and design in myriad situations, from Shepard Fairey’s Hope poster to Adolf Hitler’s reappropriation of the once-inspirational swastika for anti-Semitic purposes. The day raised more questions than it answered, but brought up several good points directly related to how design affects our everday lives—for better or for worse.
It was bound to happen. A day after street artist Shepard Fairey protested the timing of his arrest, somebody at the Wooster Collective street art blog has run a lengthy narrative suggesting a Boston police conspiracy designed to bring down Our Popular Mayor.
With some recent controversy about Shepard Fairey in the news, we thought we'd bring you this fantastic shot by The.D.80.Project. The.D.80.Project used a fisheye to create this photo of the VIP opening of Fairey's Supply And Demand. We love the small, colorful artwork on the back wall competing with the large "Obey" artwork on the sides. Add to that some nice symmetry and you're got a recipe for success.
Sure, Shepard Fairey wasn't able to make his DJ gig at the Institute of Contemporary Art the other night, but the man isn't exactly known for his skillz on the board. Good thing the other notable music performance for the weekend won't be interrupted by an arrest for
vandalism. (That is, unless Bostonist isn't aware of a certain musical duo's secret wall-scrawling career.)
Controversial street artist Shepard Fairey may have been a notorious no-show at his own party last night at the ICA (he was busy getting arrested outside his hotel) but that didn't stop the already-assembled Friday night crowd from blissfully grinding the night away. DJ Z-Trip came to the revelers' rescue by spinning in Fairey's place, continuing what was supposed to be an opening set well into the wee hours. The crowd was a mix of street art devotees and hipsters looking to scope out the "Yes We Can!" singles scene. Fairey was indeed missed, but the revelers who packed into the sold-out the OBEY Experiment event didn't let a little Bo-Po busting bring them down. Below, the photographic proof. (Photos and text by Jenna Scherer.)
The Globe reports that Shepard Fairey, prolific paster of paste-ups and purveyor of Obama-flavored Hope™, was arrested on his way to DJing an "Experiment" at the ICA last night. Two outstanding warrants, but the article doesn't specify the nature of the artist's alleged crimes—perhaps it has something to do with the contents of this map? Might a presidential pardon be in order?
In the Shepard Fairey exhibit which opens today for the general public at the Institute of Contemporary Art, there is a quotation by Andy Warhol, one of Fairey’s main influences if not his most important.