Exhibit Catalogues

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Now showing 1 - 20 of 33
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    The visionary decade: new voices in art in 1940s Boston
    (Boston, Mass.: Boston University Art Gallery in cooperation with Boston Public Library, Print Dept., 2002) Hitchings, Sinclair; Mayer, Stephanie
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    Surrounded by Water: Expressions of Freedom and Isolation in Contemporary Cuban Art
    (Boston: Boston University Art Gallery, 2008) Remba, Natania
    The art from the period represented in this exhibition has recovered and renewed the cosmopolitan traditions characteristic of the most advanced Cuban intelligentsia, and with a sense of its own prestige has firmly claimed a place on the international scene. The reaffirmation of outstanding aesthetic qualities, at the generational and individual level, is a process inseparable from the history, the politics, and the social and cultural upheavals in whose midst these artists worked. This turmoil is reflected, from different points of view, in the works selected for the exhibition. For example, among them are allusions to the frequent, risky, and illegal emigration of rafters from Cuba to the United States, and comments on the insularity, understood as a state of geographical isolation-with cultural resonance and as an existential, solitary condition of individuals.
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    Provincetown prospects: the work of Hans Hofmann and his students
    (Boston, Mass.: Boston University Art Gallery, 1993) McInnes, Mary Drach
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    Terra firma?: earth watch, earth sense, earth sites
    (Boston, MA: Boston University Art Gallery, 1989) Ranalli, Daniel
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    Celestial Images: Astronomical Charts from 1500 to 1900
    (Boston: Boston University Art Gallery, 1985)
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    Syncopated rhythms: 20th-century African American art from the George and Joyce Wein collection
    (Boston: Boston University Art Gallery; Seattle: Distributed by University of Washington Press, 2005) Hills, Patricia; Renn, Melissa
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    Power and paper: Margaret Bourke-White, modernity, and the documentary mode
    (Boston: Boston University Art Gallery, 1998) Stomberg, John; Bourke-White, Margaret
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    A theater of recollection: painting and prints by John Walker
    (Boston: Boston University Art Gallery, 1997) Stomberg, John; Walker, John
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    Sergio Castillo sculpture: energy made visible
    (Boston, MA: Boston University Art Gallery, 1990) Castillo, Sergio; Canizares, Jennifer
    As suggested by the title Sergio Castillo Sculpture: Energy Made Visible, this exhibition invites its viewers to consider the larger significance of the sculptural properties and imagery of this Chilean artist's work. Castillo's sculpture represents a marriage between traditional sculptural values and twentieth century innovations.
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    Sidney Goodman: recent work
    (Boston: The Gallery, 1981) Goodman, Sidney
    Sidney Goodman's humanism: the forms of art and metaphors for life. In terms of art, Goodman reviews his work of the 1960s and early 1970s and admits that the imagery dominated the formal problems. Today he feels that the "form and the idea are more inextricable" and that the "sense of atmosphere and color are more resolved." As a result "painting now seems limitless" to him. In terms of metaphor, Goodman heightens our grasp of the reality of the brutalities inherent in our culture by giving us realistic scenes, with carefully studied forms, measurable space, and convincing light and atmosphere. His artistry consists in manipulating the elements of art for the creation of memorable images. Assaults, rape, destruction, violence, and death pummel our consciousness-but our empathy is cathartic and our awareness need not descend to passivity. His art is visual and speaks on that level, but it also reveals, through metaphor, a range of human vulnerabilities and, dialectically, insists on human strengths and endurances.
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    Painting machines: industrial images and process in contemporary art
    (Seattle: University of Washington Press, 1997) Jones, Caroline A.; Stromberg, John
    Painting Machines pursues the Boston University Art Gallery's ongoing investigation of the machine as a visual and cultural entity with enduring meaning in the United States and abroad. It is a logical outgrowth of several recent projects at Boston University and the Art Gallery: in a series of interdisciplinary conferences and exhibitions, the University has encouraged the intellectual exploration of twentieth-century attitudes toward technology. For example, the "Histories of Science, Histories of Art" symposium in November 1995 was jointly sponsored by Boston University and Harvard University, and was co-organized by Professor Caroline Jones, the curator of Painting Machines. The lectures and discussions were accompanied by an installation of transformed household machinery, Faraday's Islands, by artist Perry Haberman. In 1995 we also organized the exhibition From Icon to Irony: German and American Industrial Photography, which juxtaposed heroic photographers of 1920s industry (Margaret Bourke-White, Germaine Krull, Albert Renger-Patzsch, Charles Sheeler) with contemporary critiques of the technological world (Bernd and Hilla Becher, Joachim Brahm, Frank Gohlke, John Pfahl).
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    Looking Out, Looking In: Contemporary Artists from Morocco
    (Boston University, 2019-03) Becker, Cynthia; Sabri, Nadia
    Looking Out, Looking In: Contemporary Artists from Morocco brings together seven diverse Moroccan photographers and videographers for the first time. Each works in a unique style and comes from a different background, but what links them is their exploration of how seeing is not always equated with knowing. They recognize that the process of looking is a political act and seek to emphasize the ambiguity of meaning contained within the visual. Some artists consider how Moroccan society is looked at by outsiders and confront the historical biases inherent in the colonial gaze. Others imagine a world without borders, making sense of the boundaries that divide nation-states. Some consider aspects of Moroccan culture hidden from public view due to political oppression. Each uses their art to contemplate the moral and emotional experiences of looking in at oneself in response to looking out at the complex social issues that impact Morocco today.
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    Alexandria Smith: A Litany for Survival
    (Boston University, 2018-11) Smith, Alexandria
    A Litany for Survival, Alexandria Smith’s first solo exhibition in Boston, is an installation of recent figure-based paintings and drawings that explore Black female subjectivity. Smith’s tonally rich canvases often centralize pairs of female figures that reside within environments that are subtly political and at times, intentionally nondescript. Depicted in profile, Smith’s figures are simultaneously mirror image and twins. Through these painterly acts of doubling, Smith embodies multiple states of being, while also exploring concepts of hybridity and duality. A Litany for Survival draws its title from the Audre Lorde poem of the same name, pointing to the political implications of the Black body. Working within a primary palette of black, blues, purples, and greys, Smith’s paintings illuminate the complexities of Black identity through subtle gradations of color, dark light, and shadow.
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    South Africa: Artists, Prints, Community: Twenty-Five Years at the Caversham Press
    (Boston University, 2011-02-08) The Caversham Centre for Artists and Writers; Cooney, Lynne; Arnold, Marion; Bila, Vonani; Brooks, S. J.; Koloane, David; Moolman, Kobus; Tuttle, Lisa
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    Sidney Hurwitz: Five Decades
    (Boston University, 2009-02-13) Hurwitz, Sidney; Hills, Patricia
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    Simpatico
    (Boston University, 2012-09-06) Apfelbaum, Polly; Cherubini, Nicole; Donegan, Cheryl; Frankfort, Dana; Greenbaum, Joanne; Monick, Jenny; Moyer, Carrie; Nelson, Dona; Sparks, Laurel
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    Hugh O'Donnell: Paintings and Drawings 1992-2002: Selections from The Green Age Series and The Body Echo Project
    (Boston University, 2002-11-23) O'Donnell, Hugh; Ashton, Dore; Henry, Clare
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    Resurfaced
    (Boston University, 2005-09-09) Buckno, Joshua; Inagaki, Stephanie
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    Nature Morte: Lynne Allen
    (Boston University, 2009) Cooney, Lynne; Basquin, Kit Smyth