The show needs more holy relics, like the viophonograph Laurie Anderson performed with in 1977. She customized the violin to spin a record on its body that she could then "play" with a record needle attached to the bow. Genuflect before the art-rock offspring that is David Byrne's 7.5-foot-square Polaroid composite portrait of his band Talking Heads for the cover of their 1978 album More Songs About Buildings and Food, which may pre-date David Hockney's exploration of the same photo technique. Feel the joy in Malick Sidibé's photos of hipsters posing with records in Mali music clubs in the '60s and '70s.

The coolest stuff here is a collection of fake album covers and cardboard records that a DC teen named Mike Stevens painted from '69 to '76 for his fictitious soul superstar alter ego Mingering Mike. Titles like Joseph War: Ghetto Prince, United States of America Puppet Force: You Only Know What They Tell You, I'm Superman, Boogie Down at the White House, and, with a wink, Can Minger Mike Stevens Really Sing provide a passionate fan's folk-art funhouse-mirror reflection of America.

“Catherine Opie: Empty and Full”
“The Record: Contemporary Art and Vinyl”
Institute of Contemporary Art, 100 Northern AVE, Boston | through September 5

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

< prev  1  |  2  |  3  | 
  Topics: Museum And Gallery , Institute of Contemporary Art, Institute of Contemporary Art, art reviews,  More more >
| More


Most Popular
ARTICLES BY GREG COOK
Share this entry with Delicious
  •   LIFE IS A CARNIVAL  |  August 27, 2014
    To run away with the circus — it’s a glamorous metaphor for “leaving a dull life for a colorful one.”
  •   A WORLD GONE WRONG  |  August 20, 2014
    The skies always seem threatening in Jennifer Hrabota Lesser’s paintings.
  •   OUTWARD AND INWARD  |  August 06, 2014
    A couple years or so back, Samuel Denoncour spent a year traveling alone across these United States.
  •   BEAUTY AND RUIN  |  July 30, 2014
    You’ve surely seen Providence painter Agustín Patiño’s work.
  •   EVOLVING PERSPECTIVES  |  July 23, 2014
    Somewhere around the 1950s, Florence Leif drastically changed her style.

 See all articles by: GREG COOK