10 exhibits that are worth another look

By GREG COOK | December 22, 2010

Providence artists MICKEY ZACCHILLI and NATALJA KENT — right after being featured with Dirt Palace pals in the Museum of Modern Art's Modern Women book, a survey of great art by women over the past century — filled AS220's Project Space with giant heads, balloons, drawings of slinky ladies and bloody monsters, and strobe lights for a manic, feral, punk, goth spectacular.

KITSCHY Corey Grayhorse's Le Tigre.

PLASTIC FANTASTIC

Cranston photographer COREY GRAYHORSE's show at AS220 featured deadpan pop surreal portraits of people in animal masks and sweaters as well as luxurious staged photographs, like one of a scantily clad lady in a pink Marie Antoinette wig kicking back at a tea party, that plumbed America's plastic, superficial heart.

ABSTRACT THINKING

In "ABSTRACTION IN PROVIDENCE" at Rhode Island College's Bannister Gallery, curator James Montford assembled Lloyd Martin's rusty, rundown urban geometries, Irene Lawrence's hovering fields of dashes, Ruth Dealy's expressionist self-portraits, Donna Bruton's biomorphic visions, and Mahler Ryder's assemblages for a snapshot of the vitality of abstract painting here.

LIFE STUDIES

JO DERY of Providence filled 5 Traverse with cartoony screenprints, animation, stuffed fabric heads, and a faux fireplace to tell an allegory about a curious raccoon and a chimney sweep haunted by turtles. The installation spoke of mystical connections between living things.

Read Greg Cook's blog at gregcookland.com/journal, where he's seeing your nominations for the 2010 New England Art Awards through January 5.

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Topics: Museum And Gallery , C.W. Roelle, Bert Gallery, Bert Gallery, More

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ARTICLES BY GREG COOK

CLOTHES MAKE THE MAN | May 13, 2013
What does it mean to be a man? That's the question at the heart of this smart, sumptuous exhibit — one of the best shows in the region this year.

MERRY PRANKSTERS | May 07, 2013
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.

ALTERED IMAGES | April 30, 2013
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.

THE AFTERMATH OF ATROCITY | April 16, 2013
From the ruins of the Iraq war emerges Wafaa Bilal's "The Ashes Series" and Daniel Heyman's "I Am Sorry It Is So Difficult To Start," on view at Brown University's Bell Gallery.