The Bannister’s hallway gallery features Massachusetts painter Marry Bucci McCoy (who teaches at Montserrat College of Art in Massachusetts, where I also happen to teach). She paints acrylic abstractions in moody, narrow ranges of color. For example, So Close (2008) features single daubs of olive green, hot orange, and burgundy on a creamy, rusty pink ground. It’s hyper-conscious, precise action painting — registering the difference between oval daubs and rectangular daubs, between a thinly painted oval and a carefully controlled glop. This carefully considered messiness can feel a might bit finicky, but often it feels just right.

Read Greg Cook’s blog at gregcookland.com/journal.

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ARTICLES BY GREG COOK
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    This showcase of tomorrow's-art-stars-today is both invigorating and overwhelming, with work by 194 students.
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    Parked out front of Brown University's gray modernist Granoff Center on a recent sunny morning were one of those 15-foot-tall inflatable rats that unions install in front of businesses they're protesting and a limousine sloppily painted to resemble a yellow and black school bus.
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    Among the handsome Washington Street storefronts of AS220's renovated Mercantile Block building, with their neo-old-timey signs, is the residents' entrance to the building. It is against AS220's religion to leave any space empty that can be filled with art. So the lobby is the AS220 Resident Gallery, which occupants of the building take turns filling with their stuff.
  •   IN THE CITY  |  April 23, 2013
    One of the distinguishing characteristics of the Providence art scene is how the city itself has been such a rich subject. A decade ago, the city became a galvanizing topic as artists fought to protect the old mills that served as their homes and studios from demolition — with mixed success. But lately, the community's industrial architecture itself has attracted artists' attention.

 See all articles by: GREG COOK

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