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England School of Art

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Just a little bit

Digital-era experimental filmmakers occupy a rich and interesting place in relation to the new technology available to them.
‘Lossless’ at The Sert Gallery, ‘Overflow’ at Laconia Gallery, Garry Knox Bennett at the Fuller, and String-Theory-inspired art and music at NESAD
By RANDI HOPKINS  |  September 23, 2008
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Flora, fauna, and the female figure

The Art Nouveau movement of the late-19th/early-20th century distanced itself from the mass production of the Industrial Revolution with elaborate, one-of-a-kind works made from unusual materials.
Art Nouveau Jewelry at the MFA, ‘Players’ on MIT’s Media Test Wall, and ‘Nascent’ at NESAD
By RANDI HOPKINS  |  July 15, 2008
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Auntie Em! Auntie Em!

Those utterly disturbing flying monkeys, the little ruby-slippered feet sticking out from under the farmhouse, the freaky talking apple trees . . .
‘Ozspirations’ at NESAD, Icons + Altars in Newton, Glenn Ligon at Harvard, Donald Kuspit at Simmons
By RANDI HOPKINS  |  November 06, 2007
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When worlds collide

We humans are quick to anthropomorphize the non-human.
The Collision Collective at AXIOM, Stencils at NESAD, and Alice Neel on film
By RANDI HOPKINS  |  August 07, 2007

Walk on by

MIT’s campus is dotted with art — 46 works are listed on its most recent “Public Art Collection Map,” a document that you can download if you want to know what that big thing in front of the Stata Center is, or who made the cube-like piece in front of th
Bill Arning tours art at MIT; Alexander Dumbadze examines sculptural form at Brandeis; books and dioramas at NESAD
By RANDI HOPKINS  |  July 11, 2006
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See me, feel me

Andy Warhol’s paint-by-numbers works from the early 1960s made ironic comment on the emotional overload of then-dominant Abstract Expressionist painting.
‘Please Touch’ at GASP, NESAD prize winners, and the PRC Mother’s Day benefit
By RANDI HOPKINS  |  May 09, 2006


Splashy

David Hockney has been kind of a rock star in contemporary art history, a flamboyant figure originally fêted for his pioneering use of the cool, magazine-style imagery that was identified with early Pop Art, as well as for his exuberant lust for life.
David Hockney at the MFA, CAA in Boston, and Jaune Quick-To-See Smith and Ric Haynes
By RANDI HOPKINS  |  February 17, 2006