But the audience crowded into the hall to watch when Hlobo finally stood up, slowly stretched, pulled the suckers off the wall, and walked down the building’s stairs to the ground floor. As he descended, he moaned a bit and wept, and what had been dull felt for a moment like a passion play. What was upsetting him was obscure, but it seemed he could really use a hug. No one approached him. He lingered for a bit at the bottom of the stairs and then exited through a door into the museum’s back rooms.
Related:
Rubber soul, A certain kind of disorientation, Dear Ketel One drinker, More
- Rubber soul
Pink satin ribbon, rubber inner tubes, and large swaths of flowing organza are some of the materials that Nicholas Hlobo uses in various media to examine gender, ethnicity, and his South African heritage.
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Home-grown new sculpture is alive and well right here right now, as Boston Sculptors Gallery regularly reminds us.
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That weird Gothic lettering, the direct yet formal tone — what exactly are Ketel One Vodka’s ads supposed to signify?
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It’s hard to avoid thinking about Freud when contemplating the richly symbolic, highly sexual sculpture and drawing of Louise Bourgeois.
- Video vérité
Javier Téllez's 2007 black-and-white film "Letter on the Blind, For the Use of Those Who See" starts with a catchy premise: he gathered six blind New Yorkers at an empty public pool in Brooklyn to act out the fable of the blind men and the elephant.
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For the majority of us Americans, Iraq and Afghanistan are a series of news-data points — number of Americans killed today, number of car bombs, spending tallies, estimates of civilian deaths.
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Not into wheatpasting and framed posters? The ICA is about to serve up two shows by artists who promise not to pop up on street walls all over the city.
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