The Tufts University Art Gallery continues its series of MFA thesis exhibitions from the School of the Museum of Fine Arts (SMFA) this month. The show is a strong representation of the work of emerging artists and allows viewers a rare glance into the SMFA's studios.
Fearless Records does it again with its most recent release of "Punk Goes Crunk," another one of its theme compilation albums. This 15-song CD is a collection of hip-hop and rap covers from some of the most prominent up-and-coming "punk" bands in the industry. Albums like this have been released before, all with the "Punk Goes..." title; the 1980s and '90s albums sold to some success, and their two acoustic albums (in which artists play their singles stripped down) are very popular. Of course, these albums are just gimmicks to get a little side cash for the artists and labels. "Punk Goes Crunk," however, may not provide the return that the investors were looking for.
This month, the Julie Chae Gallery presents "BLOW ME AWAY: works on paper," a group show composed of five artists. The show introduces these very different artists, exploring the way they use the notion of fantasy and the medium of paper. With well over fifty pieces, the show is very complex. It demonstrates the versatility of this medium, both in terms of technique and style. The gallery continues its tradition of showcasing young artists: Brian Chippendale has been exhibiting since 1995, and the others (Christopher Davison, Nicole DePonte, Jungil Hong and Kevin Hooyman) all started after 2000.
Muse has long been a band that's fallen under the radar of most popular rock enthusiasts in the United States, and it's truly a tragedy that such is the case. The band's epic rock style, complete with music videos featuring laser-shooting, motorcycle-riding space cowboys, is one of the only entirely novel sounds the rock world has seen of late.
The Boston Institute for Contemporary Art (ICA) is currently hosting a small show that, despite its size, packs a punch. Though it only highlights three artists - Mark Bradford, Robin Rhode and William Cordova - "Street Level" is a challenging exhibition that stands as a milestone for "street" artists slowly entering the art world.
"Surrounded by Water: Expressions of Freedom and Isolation in Contemporary Cuban Art," now open at the Boston University Art Gallery and curated by graduate student Natania Remba, explores the ways in which Cuban artists use water as a metaphor.
The Counting Crows have had a story to tell since they began writing music, and their newest album, "Saturday Nights and Sunday Mornings," is no exception. Lead singer and lyricist Adam Duritz weaves stories into songs investigating sin and remorse. At its core, the album is a remorseful yet intriguing memory of Duritz's past and a hopeful feeling about his future.
Walking from the Broadway T stop to the Allston Skirt Gallery makes one realize the lengths that people go for art. The experience of that walk is completely unlike the environment at Tufts; it's a landscape of bridges, overpasses, metal railings, construction, tractors and dumpsters. Amid the chaos of the oft-forgotten industrial side of Boston, nestled in between warehouses, is a street with a few choice galleries, antique stores and porcelain showrooms. Among them is Allston Skirt.
When actress Zooey Deschanel and singer-songwriter M. Ward worked two years ago on the film "The Go-Getter" (2007), an indie film about a young man's soul-searching journey, not much more than they were met with glowing reviews at Sundance. But when Deschanel, who starred, and Ward, who wrote the score, collaborated on a song for the movie's soundtrack, they planted the seed for a promising side project. Deschanel and Ward harmonized on Richard and Linda Thompson's "When I Get to the Border," and she eventually confided to him that she was a closeted songstress who secretly recorded original compositions on her computer. They parted after the brief movie collaboration, but Deschanel sent Ward a demo that impressed him so much he invited her to his Portland, Ore. studio, and the duo "She and Him" was born.
It's not every day that a band manages to title an album in such a way that captures with precision not only a striking duality of themes on their record, but also the band's current position in their career. The title of The Matches' third studio album, "A Band in Hope," accomplishes this feat with the punk rock irreverence that their fans have come to expect.
Almost every Tufts student has at one time or another taken a stroll down Newbury Street, but not many have taken the opportunity to enjoy the relaxing effects of Newbury's one and only free activity: gallery viewing. Located at 10 Newbury St., right next to Juicy Couture, is a non-descript door that leads to one of the true gems for viewing contemporary art in Boston: the Barbara Krakow Gallery. Located on the fifth floor (don't worry, there is an elevator) is this simple, well-organized space that makes up for its lack of size in the quality of its contents, which are both intellectually stimulating and cheerful, for the most part.
Through the Boston Museum of Fine Arts' (MFA) affiliation with the School of the Museum of Fine Arts (SMFA), the museum often takes opportunities to show student work. These are usually not the largest shows, nor are they the most impressive, but they contribute a glimpse of the absolute present of art-making.
"Goodbye Blues," the newest release by The Hush Sound, was named one of the "Most Anticipated Albums of 2008" by the Alternative Press. This record may lack the band's characteristic innocence, but the maturity of the band shines through in both its spunky-rock sound and interpretation of the gritty world of adult relationships.
This month, the Julie Chae Gallery is hosting "Travelling Without Moving," a collection of paintings by Amanda Church. The exhibition features recent works by the painter, all of which explore the ideas of place, movement and time through abstract forms. The paintings are all oil on canvas, displaying fanciful forms in soft colors.
Four-piece indie rock band Murder By Death released its fourth studio album "Red of Tooth and Claw" last Tuesday on its new label, Vagrant Records. The band, which is named after a Peter Sellers whodunit mystery movie, is known for its wide range of musical styles, including fast-paced punk rock, alternative indie and a little bit of country.
To say that Flogging Molly's songs all sound the same is essentially correct, for better or worse. But is that same-ness necessarily a bad thing? On their latest album, "Float," the Celtic punk rockers try something slightly new, but their call for change goes unanswered.
The Black Crowes, a name that is strangely familiar to nearly everyone these days, have been one of the biggest names in post-Allman Brothers Southern rock for some time now, having released seven albums (and seven live albums) over their 20-year career. The band's future was in serious jeopardy in 2001 when lead singer Chris Robinson and his guitarist brother Rich Robinson butted heads (? la the Gallagher brothers of Oasis) and, for the sake of their sanity, decided to take a break.
Erykah Badu has always defied conventions. From her eye-catching hairstyles, which shift between various tying and dying patterns, to her ability to cross genres, Badu has created quite the niche for herself as a writer and producer, but it is her talent as a vocalist that has earned her fame. Her Billie Holiday-esque voice first reached listeners in 1997 on her triple platinum debut album, "Baduizm," followed the same year by "Live," a compilation of her concert performances that currently holds double platinum status.
Walking into the new exhibit at the Institute for Contemporary Art (ICA), visitors are immediately confronted with an enormous, canary-yellow structure. Large loops of fiberglass support rows of arena seating that extend to a few inches below the gallery's ceiling. People sit among the first three rows of these oversized bleachers, watching individuals and being watched in return. Rita McBride's "Arena" (1997) is a fitting opening to "The World as a Stage," on view at the ICA until April 27.
In our busy lives, there is almost no time to sit back and watch the trees blossom. We are continually rushing to and fro between classes, errands and if there's time, our social lives. Every piece of technology produced helps to hurry time, so one can cram even more activities into a short 24-hour block. Sometimes, it is just necessary to step back from the melee of life and observe the rush.
