List Visual Arts Center

WBUR’s Maddie Browning spotlights the MIT Student Lending Art Program, which allows undergraduate and graduate students to bring home original works of art from the List Visual Arts Center for the academic year. “I really felt like every student had a deeper relationship with the work after having lived with it for a period of time,” says Gwyneth Jackman, marketing coordinator for the List. “I think that they really care for these pieces. And I think that they know how wonderful of an experience and opportunity this is.”

WBUR reporter Solon Kelleher spotlights “List Projects 29” – the final show in a series at the MIT List Visual Arts Center that focuses on “collaborations between artists.” The show features work from Brittni Ann Harvey and Harry Gould Harvey IV. “The artists co-founded the Fall River Museum of Contemporary Art and share a vision for artist-led spaces and art that engages with the wider community,” writes Kelleher.

Writing for The Messenger, graduate student Kartik Chandra highlights the MIT Art Lending Program, which allows students to select one piece from the List Visual Arts Center’s collection to keep in their dorm rooms for the duration of the academic year. “Three years into my time at MIT, I’m convinced the program works well,” writes Chandra. “Our relationship with art changes from the moment we walk into the gallery. As students wander, pondering what to take home, conventional measures of fame, monetary worth, and even beauty fall away, and the only question that matters becomes: Does this piece speak to you, personally? And something always does — as if it were put there just for you.”

The MIT List Visual Arts Center is offering free admission on Juneteenth for visitors to view three exhibits, reports Abigail Lee for The Boston Globe. “In the exhibitions, New York-based Alison Nguyen explores the cultural effects of cinematic storytelling, Philadelphia-based Lex Brown combines social issues and satiristic humor, and Berlin-based Sung Tieu uses different spatial configurations to reflect political questions,” writes Lee.

Artist Alison Nguyen’s exhibition, “History as Hypnosis” - a video installation that “surfaces themes of alienation and assimilation through three narratives” - opens this weekend at the MIT List Visual Arts Center, reports Jenn Stanley for WBUR. “Nguyen’s work explores digital media’s psychological effects on the public,” writes Stanley, “reflecting on how images are produced, circulated and consumed in mainstream U.S. culture.”

Stir World reporter Sunena Maju spotlights “Symbionts: Contemporary Artists and the Biosphere,” an exhibit at the MIT List Visual Arts Center that explores the “collaborative potential of living materials.” Maju writes that the exhibit “brings a new perspective to marrying science and art,” and “invites people to reexamine human relationships to the planet’s biosphere, through the lens of symbiosis.” 

The new MIT Museum includes an exhibition by kinetic sculptor Arthur Ganson called “Gestural Engineering,” which features a collection of table-top sized kinetic sculptures. Boston Globe reporter Murray Whyte notes that “Symbionts: Contemporary Artists and The Biosphere,” an exhibition highlighting the collision of art and science, will premiere at the List Visual Arts Center on October 21 and run through February 26.

WBUR’s Pamela Reynolds spotlights “Symbionts: Contemporary Artists and the Biosphere,” an upcoming exhibit at the MIT List Visual Arts Center that explores “how organisms of different species live together and thrive because of it.” The exhibit highlights the work of over a dozen international artists and will be on display October 21 through February 26.

A new exhibit by Azza El Siddique, a sculptor and mixed media artist, will be on display at the MIT List Visual Arts Center this summer, reports Pamela Reynolds for WBUR. Reynolds notes that in this show, “viewers are invited to contemplate the transitory nature of everything.”

Artist Matthew Angelo Harrison’s solo exhibition “Robota” is on display at the MIT List Visual Arts Center through July 24. The exhibition “positions organized labor and workers’ rights as entombed relics, victims of post-industrial economy,” writes Murray Whyte for The Boston Globe.

Sculptor Matthew Angelo Harrison and artist Raymond Boisjoly will both have art installations on display at the MIT List Visual Arts Center this upcoming spring, reports Pamela Reynolds for WBUR. Reynolds notes that Boisjoly’s “latest work continues the artist’s practice of working with text, photography and images in consideration of how language, culture and ideas can be framed and transmitted.” Harrison, “has frozen union organizing artifacts into chunks of resin,” writes Reynolds. 

Boston Globe reporter Peter Keough spotlights artist JR’s new documentary “Paper and Glue,” which will be screened at the MIT List Visual Arts Center on Jan. 20. “JR takes on trouble spots around the globe, where he involves oppressed communities in creating the blown-up, immersive photo installations that are his oeuvre and which make a strong case that art can” change the world, writes Keough.

WBUR reporter Pamela Reynolds spotlights a new exhibit of Sharona Franklin’s work, which will be on display at the MIT List Visual Arts Center this coming February. “Franklin presents a new installation combining the themes of chronic illness with bioethics, environmental harm and holistic approaches to healthcare,” writes Reynolds.

The Boston Globe highlights three new exhibits on display at the MIT List Visual Arts Center. New installations include “Andrew Norman’s two video pieces ‘Impersonator’ (2021) and ‘Kodak’ (2019); Sreshta Rit Premnath’s sculpture show ‘Grave/Grove’; and, in this era of stops and starts as we lurch from lockdown to reopening, the serendipitously named ‘Begin Again, Again,’ by the pioneering video artist Leslie Thornton.”

In a new exhibit by Sreshta Rit Premnath, currently on display at MIT’s List Visual Arts Center, “nine pieces perform as a sort of breviloquent visual haiku, touching on pressing social themes outside museum walls,” reports Pamela Reynolds for WBUR. “I’m very aware that the area that I'm living in always enters into my work, sometimes in more abstract ways,” says Premnath.