The instinct to collect may be a basic part of human nature; we acquire and amass and stockpile a variety of things, be it nostalgic keepsakes, artistic treasures, emergency snacks, or cherished memories. Parents hold on to their children’s baby teeth, bibliophiles fill their houses with books, sports fans hunt down memorabilia from their favorite teams; my own mother dutifully collected Longaberger baskets for a good ten years. I myself collect all manner of things, often to the level of hoarding, but that is a discussion for another day. Perhaps this shared tendency is why the work of Joseph Cornell strikes a chord within so many, as I have yet to meet anyone who dislikes his thoughtful and intricate assemblages of found objects.
When university student Hana meets a quiet, lonely man in one of her lectures, the attraction is instantaneous. She soon discovers he is the last of a family of wolf-people, but that does not change her feelings for him. They move in together and have two children, and tragically he is killed in an accident shortly after the second child is born. Hana quickly realizes her offspring are shapeshifters, with the ability to turn into wolves, and she moves her family out to the country with the hope that they’ll be safe from prying eyes and can find a way to reconcile their dichroic heritage by being closer to nature.
A trio of unkempt men living in hidden underground rooms in the forest are forced to flee when a gang of armed men (including a priest) raid their home. Their leader, Camiel (Jan Bijvoet), runs to a large, isolated estate and begs its owner–self-interested businessman Richard (Jeroen Perceval)–to allow him to use their shower. He refuses, and soon physically beats Camiel when he claims to have known Richard’s wife, Marina (Hadewych Minis). She takes pity on him and secretly invites him to use their bathroom, going so far as to make him dinner and agreeing to put him up in their guest house for a few nights as long as he keeps himself hidden. He soon ingratiates himself into her and her young children’s lives, and facilitates the dissolution of her marriage by sending her nightmares about Richard.
Not only have the MFA’s ever-changing contemporary galleries become much more inclusive of women and people of color, but the special exhibitions have been far from safe in their choices of artist and theme- usually foregoing big names in favor of exposure for international artists who are less known in the US. They’ve had Israeli photographer Ori Gersht, experimental ceramists, Iranian women photographers, political artists from Latin America, and now, Shinique Smith, an inventive and multi-talented black artist whose works makes an impact in both scale and material. Pulling from a range of graphic references, Smith has forged a distinctive style through her incorporation of lowbrow textiles, sweeping gestures, and collage elements in a variety of works.
Set in that bygone era when downtown New York was overrun with punks and freaks and strip clubs and boomboxes and graffiti, Times Square follows the adventures of unlikely duo of Pamela Pearl (Trini Alvarado), a shy, lonely, wealthy 13-year-old girl and abrasive, anti-authority 15-year-old punk Nicky Marotta (Robin Johnson). They meet in a hospital where they are undergoing tests for seizure-related issues, but they soon break out together and decide to make it on their own in the streets of New York City. They move into an abandoned warehouse (or train station? or something?) and do well enough for themselves stealing food, taking clothes from some old trunks they found, and dancing (clothed) at a club.