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.
Combining diverse artistic approaches–including ink drawing, collage, installation, painting, and animation–and commenting slyly on race, gender, colonialism, and sexuality in her subject matter, Wangechi Mutu has always most attracted me with her work’s sickly beauty. There’s something so eye-catching yet simultaneously upsetting about her mixed-media compositions, they force viewers to look first for pleasure and then again for meaning. Born in Nairobi, Kenya, and educated at Cooper Union and Yale University, Mutu has been exhibiting since the late 90s but seems to be gaining more and more recognition in recent years, with a major solo museum exhibition that is ending its national tour at Northwestern University this fall.
In mid-17th century France, Louis XIII and Cardinal Richelieu together enforce Catholic dominance across the country. In his fanaticism, Richelieu entreats the king to tear down the walls surrounding the small city of Loudun, which–while Catholic–is basically self-governing and (in his mind) a likely haven for Protestants. Charismatic priest Urbain Grandier (Oliver Reed), who is beloved by the townspeople despite his known affairs with local women, has been in charge since the governor died, and he resists any orders to destroy his city’s defensive walls. Meanwhile, Sister Jeanne (Vanessa Redgrave), Mother Superior at Loudun’s Ursuline convent, experiences explicit visions involving Grandier as a sexy Christ figure…
Diagnosed with a debilitating heart condition in her childhood, 22-year-old Chantaly does not leave her house much. Her mother died in childbirth, and her doting father raised her as best he could, but she has always felt the absence of a mother in her life. As an adult she lives quietly, running a small laundry service from their home with the help of her cousin, and playing with her adorable dog Moo. She starts experiencing visual and aural disturbances that might be her dead mother’s ghost, or might be a hallucinatory side-effect of her heart medication. Chanthaly becomes convinced her mother is trying to reach her, trying to tell her the truth about her death, and she gradually comes to distrust and resent her well-meaning but overprotective father.