Boston Globe reporter Malcom Gay highlights how a number of local arts organizations, MIT List Visual Arts Center, are presenting a series of exhibitions exploring the relationship between art and technology. As part of the series, the List will present “Before Projection: Video Sculpture 1974-1995.”
The MIT Museum and MIT List Visual Arts Center were two of 18 Boston-area museums that participated in this year’s #BostonInstaSwap. Each museum sent an employee to another local institution where they were “tasked with snapping and sharing pictures from the scene, highlighting exhibits and giving their followers a different experience,” writes Steve Annear for The Boston Globe.
Paul Ha, director of the MIT List Visual Arts Center, has organized an exhibit at Boston’s City Hall titled “A Summer Proposal,” writes Cate McQuaid for The Boston Globe. McQuaid writes that the exhibit, “features work from a terrific slate of artists responding to the building’s architecture.”
In an article for The Boston Globe, Cate McQuaid reviews “An Inventory of Shimmers: Objects of Intimacy in Contemporary Art,” which is currently on display at the MIT List Visual Arts Center. McQuaid notes that the conceptual art in the exhibit, “plugs into perceptions of love, trust, and care.”
Writing for The Boston Globe, Cate McQuaid spotlights “Gwenneth Boelens: At Odds” and “Charlotte Moth: Seeing While Moving,” two exhibits on display at the MIT List Visual Arts Center. McQuaid writes that “individual works in the exhibitions prompt bittersweet responses to lost utopias, uncanny associations of place and time, and heightened attunement to the senses.”
In an article for The Atlantic about college museums, Jacoba Urist highlights MIT’s List Visual Arts Center as an example of a campus art institution that also serves as an experimental museum. Urist writes that the List "considers itself a research lab, engaged in a form of scientific inquiry."
Boston Globe reporter Sebastian Smee writes about Edgar Arceneaux’s new exhibit “Written in Smoke and Fire,” which is currently on display at the MIT List Visual Arts Center. Smee writes that Arceneaux’s installation “'Until, Until, Until. . .’ is a brilliant work.”
In a New York Times travel guide to Cambridge, Mass., Ethan Gilsdorf recommends that visitors explore the MIT campus, spotlighting the Ray and Maria Stata Center, the List Visual Arts Center and MIT’s collection of outdoor art. He also writes that “to study Cambridge’s innovative, D.I.Y. spirit, look no further than the MIT Museum.”
A Boston Magazine article highlighting 47 art exhibits this fall features the Edgar Arcenaux Exhibit at the List Visual Arts Center. The exhibit combines three Arcenaux installations that use “books by well-known black thinkers to construct a hybrid of catacomb and maze.” The exhibit is on display from October 14 until January 8, 2017.
Sebastian Smee writes for The Boston Globe about a new exhibit of work by Ethan Hayes-Chute on display at the MIT List Visual Arts Center. “The whole installation is a delight — witty, full of subtle details, uncanny,” writes Smee.
Sebastian Smee reviews Tala Madani’s show “First Light,” which is currently on display at the List Visual Arts Center. “This is a genuinely — and intelligently — provocative show,” writes Smee. “It is no surprise to me that it has been staged by the List Visual Arts Center.”
In a roundup of art exhibits to see this spring, WBUR reporter Greg Cook highlights an exhibition of Tala Madani’s work that will be on display at the MIT List Visual Arts Center starting May 20th. Cook writes that, “he Tehran-born, Los Angeles-based artist’s paintings, drawings and stop-motion animations often feel like political cartoons.”
Boston Globe reporter Cate McQuaid writes about a new exhibit at the MIT List Visual Arts Center that examines email spam. “Hadjithomas and Joreige, artist-filmmakers based in Lebanon, focus on the unseen and unexplored. E-mail scams fit the bill,” writes McQuaid. “The artists have been collecting them since the late 1990s, and have now archived and deconstructed more than 4,000.”
Writing for The Boston Globe, Sebastian Smee writes that 2015 “was a banner year for great artists and curators who just happened to be women.” In his article, Smee highlights the work of Prof. Emeritus Joan Jonas, who represented the U.S. at the Venice Biennale this year.
“MIT professor emerita Joan Jonas, who represented the United States at the Venice Biennale, has been named the next visual arts mentor for the Rolex Mentor and Protégé Arts Initiative,” writes Meredith Goldstein for The Boston Globe. Jonas was named to the initiative along with five other artists.