PaperCity Magazine

July/August 2019- Dallas

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77 I f you've never visited the ICA in Boston, then just seeing the building and the breathtaking water views are worth the price of admission. Award- winning architects Diller Scofidio + Renfro designed a contemplative space for experiencing contemporary art seamlessly by integrating interior and exterior spaces. The title of the exhibition, "Less is a Bore: Maximalist Art & Design," is derived from the well-known Mies Van Der Rohe axiom "Less is more" which was flipped on its head by architect Robert Venturi when he proclaimed, "Less is a bore." The ICA exhibition takes its inspiration from that notion, uniting paintings, ceramics, sculpture, dance, and furniture to spotlight maximalist design. Through September 22; What to wear: If there was ever a time to channel your inner Moira Rose (the matriarch of Canadian TV phenom Schitt's Creek — and if you don't know that show, you should be ashamed of yourself), this is the time. Perhaps a wig in a subtle shade of lavender, topped with a Treacy-ish chapeau, and a severely tailored Moschino suit (circa 2008, when the Roses still had their video- rental millions). T he Broad is still in its infancy stages, having just moved into its architecturally significant building, but it must be applauded for mounting such a thought-provoking and needed exhibition. This will hopefully not be a once-in-a-lifetime opportunity to see this type of show, as many institutions are finally realizing it is time to focus on women, lesser-known talents, and artists of color. Through September 1; Also on the itinerary: If you make your trip the last weekend of the summer, August 30 through September 2, get tickets to the Malibu Chili Cook-Off. This über-affluent community is known for its beautiful people, whether they be surfers or starlets. During the event you can even vote for your favorite vegan chili recipe. (However, since you're from Texas, that might be sacrosanct.) T he title makes a poignant point: There should be places that are "everyone's art gallery." Yes, there is a thing called "public art," but due to government cutbacks, pieces are not as readily seen, especially in disenfranchised neighborhoods and communities. Beginning in 1919, 39 posters came to the Art Institute of Chicago, courtesy of the Underground Electric Railways London, and over the next 20 years, more arrived to form a collection of almost 350 works. The posters, awash in vivid color and innovative design, encouraged Londoners to use commercial transportation systems to venture to cultural attractions, shop, and even travel to the countryside. Through September 5; "LESS IS A BORE: MAXIMALIST ART & DESIGN"AT THE INSTITUTE OF CONTEMPORARY ART, BOSTON "SOUL OF A NATION: ART IN THE AGE OF BLACK POWER 1963-1983" AT THE BROAD, LOS ANGELES "EVERYONE'S ART GALLERY: POSTERS OF THE LONDON UNDERGROUND" AT THE ART INSTITUTE CHICAGO T he title of the exhibition is intriguing enough to warrant a visit. Presented for your thoughtful consideration are works culled from the collections of the de Young and the Legion of Honor, which examine patterns that might suggest a storyline of disruption within a collective institutional subconscious. Through November 10; "SPECTERS OF DISRUPTION" AT THE DE YOUNG MUSEUM, SAN FRANCISCO Mary Koop's Summer Sales Quickly Reached, 1925 Barbara Jones-Hogu's Unite (First State), 1971 Nathalie du Pasquier's Untitled, 1984 Louise Nevelson's Sky Cathedral's Presence I, 1959-1962 ©BARBARA JONES-HOGU IMAGE PROVIDED COURTESY OF THE FINE ARTS MUSEUMS OF SAN FRANCISCO

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