Francine Koslow Miller

  • Dave Cole

    Providence, Rhode Island–based artist Dave Cole blurs the lines between homespun and manufactured, innocent and subversive, nostalgic and postindustrial in his knitted, quilted, and hand-sewn sculptures that range from three-inch-tall Kevlar booties to a 450-square-foot American flag quilt stitched together from the red, white, and blue areas of the “192 Flags of the World”—the official United Nations set. Cole first became known around 2003 for his series of variously sized lead, Kevlar, and fiberglass teddy bears, but his career surged with Knitting Machine, 2005, a work that utilized John

  • Carroll Dunham

    Celebrated since the 1980s for his cartoonishly surreal paintings on wood veneer, Carroll Dunham is also a prolific and ingenious printmaker. Since he began making prints in 1984, in collaboration with Universal Limited Arts Editions, the artist has created many lithographs, relief prints, intaglios, screenprints, and monotypes. In “Carroll Dunham Prints: A Survey,” curator Allison Kemmerer presented, in approximately chronological order, some 120 such works—a selection that demonstrated the artist’s fascination with various techniques as well as his evolution from creating automatic drawings

  • Alexis Rockman

    Famous since the mid-1980s for painstakingly painted phantasmagorical botanical and zoological scenes, Alexis Rockman presented expressionistic landscapes in “The Weight of Air,” his first solo museum show in a decade. Made between 2005 and 2007, the thirty-nine oils on paper, which the artist refers to as his “weather drawings,” take as their subjects hurricanes, toxic emissions, landslides, tornadoes, diminishing glaciers, and evaporating seas. The quasi-abstract, often heroic images result from an improvisational and muscular handling of materials: Rockman pours onto gessoed paper a mixture

  • Stephen Barker

    Beginning with “Night Swimming,” 1999, a series of grainy photographs documenting the murky corners of Manhattan’s gay sex clubs, Stephen Barker has focused his camera on the eroticism of anonymous desire. His latest project, “The Archivist’s Wig,” 2007–2008, a layered combination of found and fabricated photographs, wallpaper, and sculpture, takes as its subject the life and times of the notorious gay cold war double agent Guy Burgess (1911–1963), a British diplomat turned Soviet spy and defector. An array of ink-jet prints made from scanned negatives of Barker’s own new still lifes and beefcake

  • Holly Coulis

    In her sixth solo exhibition, “Some People,” Holly Coulis showed ten idiosyncratic portraits of invented characters. This group of oils on linen locates a group of oddball individuals—including a handwriting analyst, an animal trainer, a trout fisherman, a Puerto Rican pinup girl, and a male fan dancer—in situations of dreamlike ambiguity. A love of pattern, a bold palette, and a feeling for intricate design inform these works; the artist also employs a layered color and distorted scale and perspective. Once criticized for its haphazard, fragile technique, Coulis’s work is now distinguished by

  • Cliff Evans

    For this show, his recent solo museum debut, Brooklyn- and Boston-based artist Cliff Evans projected a five-channel video onto a twenty-foot-long, seven-foot-high arrangement of five segmented panels to make Empyrean, 2007 (the title evoking the pure light of heaven). Evans was in residence at the institution in 2006; afterward he crafted the work by combining more than ten thousand images drawn from governmental, corporate, military, commercial, and pop-cultural websites to illustrate a set of loose imaginative narratives. The artist, who considers the Web to be his collaborator, downloads,

  • Dawoud Bey

    African-American photographer Dawoud Bey, who first garnered widespread recognition in the early ’90s for black-and-white portraits taken on the streets of Harlem, has spent the past fifteen years focusing on diverse populations of teenagers. “Class Pictures,” Bey’s recent exhibition at the Addison Gallery of American Art, was centered on his depictions of contemporary American adolescence. The work on display—a video titled Four Stories, 2003, and forty large color shots taken between 2003 and 2006—was the result of visits to more than a dozen high schools around the country and was

  • Rune Olsen

    For his first solo show, Brooklyn-based Norwegian artist Rune Olsen conjured a startling scene composed of intricate sculptures portraying various animals fighting and mating, frozen in postures of dominance and compliance. In a disquieting fusion of natural and unnatural history, a rabbit mounts a rooster, two bull elephants tangle trunks, a stag licks his partner’s bloodied antler, and a black bear lewdly flaunts his engorged tongue and sharp teeth.

    Constructed from wire and welded steel armatures filled with wads of newspaper and covered with layers of white archival tape, the sculptures are

  • Karen Finley

    In her role as Emerson College’s 2007 School of the Arts Visiting Artist, provocateur Karen Finley produced “Nation Building,” a thoughtful exhibition of drawings, sculpture, and mixed-media works. She also performed two monologues, The Dreams of Laura Bush and The Passion of Terry Schiavo. These may have disappointed an audience expecting variants on Finley’s infamous chocolate-covered nude performances but they revealed a calmer, more globally conscious feminist practitioner, seeking here to address issues around sexuality and power by targeting the dysfunctional Bush family, Dubya’s

  • Louise Bourgeois

    To celebrate the recent acquisition and United States debut of ninety-five-years-young Louise Bourgeois’s fabric sculpture The Woven Child, 2002, an archetypal image of a mother and child, the Worcester Art Museum organized a lyrical exhibition of related cloth figures, a fabric book, and a series of silk screens on fabric made by the artist over the past ten years. Much of the imagery in the five sculptures and pair of two-dimensional installations in the exhibition “Louise Bourgeois: The Woven Child (in context)” further explores themes that Bourgeois has grappled with for more than fifty

  • Clare Rojas

    As is her custom, Clare Rojas donned a mammoth wig and performed homespun country tunes as her alter ego Peggy Honeywell at the recent opening of her latest project, a site-related installation incorporating a quiltlike arrangement of large painted plywood panels alongside more conventional painting, sculpture, and video. In Rojas’s music and visual work alike, duality, the pain and bliss of love, and the complexity of women, men, and nature are common threads.

    On the rear wall that served as the backdrop for Honeywell’s performance, a flatly rendered young female giant with flowing black hair

  • Joe Wardwell

    After five years of painting on guitars and two and a half years of portraying musicians, Boston’s Joe Wardwell staged his own rock/art “concert” of sorts. The artist paired his new raucous, romantic oil paintings and the elegant drawings that make up his “A Heavy History,” 2006, with a handpainted electric guitar finished in gold leaf and a vintage phonograph playing his latest vinyl album, Full Length, 2006, which showcases his rasping, guttural voice, booming bass-playing and drumming, and boisterous guitar riffing.

    “A Heavy History,” a series of sixty-nine small sepia-toned pencil-and-ink