\n
![\"Festive](\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2018\/09\/picPEMEmpress366-1024x738.jpg\")
<\/a>\u201cEmpresses of China’s Forbidden City\u201d<\/a> at Peabody Essex Museum, Salem, Massachusetts, Aug. 18 to Feb. 10<\/h2>\nNearly 200 objects tell the little-known stories of empresses in shaping the politics, art and religion of China\u2019s last dynasty, the Qing dynasty, from 1644 to 1912.<\/p>\n
\n![\"Howard](\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2018\/09\/picTuftsHowardFinster-1024x594.jpg\")
<\/a>Howard Finster “Rhino,” 1990. (Courtesy Tufts University Art Gallery<\/figcaption><\/figure>\n“Expressions Unbound: American Outsider Art from the Andrew and Linda Safran Collection”<\/a> at Tufts University Art Galleries, Aug. 29 through Dec. 16<\/strong><\/h2>\nVisionary art by some of the best of the 20th century\u2014including Thornton Dial, Bessie Harvey, William L. Hawkins, Mary T. Smith, Jimmy Lee Sudduth, and Purvis Young\u2014drawn from a recent gift to the university.<\/p>\n
\n![\"Tim](\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2018\/09\/picSMFATim-Portlock_Beach-View-1024x753.jpg\")
<\/a>Tim Portlock, “Beach View in CASH4GOLD,” 2015, printed vinyl. (Courtesy SMFA at Tufts)<\/figcaption><\/figure>\n\u201cMuseum of Capitalism\u201d<\/a> at School of the Museum of Fine Arts at Tufts, Boston, Aug. 29 to Oct. 25<\/h2>\nThe \u201cMuseum\u201d is a project of Oakland, California, curators Timothy Furstnau and Andrea Steves to imagine the end of capitalism with exhibitions and talks exploring \u201cthe ideology, history, and legacy of capitalism.\u201d Its first exhibition was in Oakland a year ago. Here they round up artworks on the theme, plus talks on capitalism on Sept. 14 and housing in Boston on Oct. 16.<\/p>\n
\n![\"Adolph](\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2018\/09\/picProvincetownGottliebSea-and-Tidew-1024x845.jpg\")
<\/a><\/h2>\nAdolph Gottlieb, “Sea and Tide.” (Courtesy Provincetown Art Association and Museum)<\/p>\n
\u201cAdolph Gottlieb in Provincetown\u201d<\/a> at Provincetown Art Association and Museum, Provincetown, Massachusetts, Aug. 31 to Oct. 21<\/h2>\nGottlieb (1903-1974) was one of the leading pioneers of New York School Abstract Expressionism. This exhibition spans the years 1946 to 1957, plumbing works on paper and small oil paintings from his 1940s \u201cPictographs\u201d to his 1950s \u201cBurst\u201d paintings that he made while summering in Provincetown.<\/p>\n
\nSEPTEMBER<\/strong><\/h2>\n![\"Fred](\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2018\/09\/picLesleyEversleyw-1024x773.jpg\")
<\/a>Fred Eversley. (Courtesy Lesley University)<\/figcaption><\/figure>\n\u201cRadiant Space\u201d<\/a> at Lesley University\u2019s VanDernoot Gallery, Cambridge, Massachusetts, Sept. 4 to Oct. 7<\/h2>\nA showcase of artists sometimes affiliated with the effervescent, transcendental minimalism of California\u2019s \u201cLight & Space\u201d movement of the 1960s, including Fred Eversley and De Wain Valentine, plus some artists they inspired.<\/p>\n
\n![\"Rhyton](\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2018\/09\/picHarvardRhyton-wild-cat_Met-Museum-NY_PR-756x1024.jpg\")
<\/a>Rhyton with the forepart of a wild cat, Parthian, 1st century BCE, silver, partially gilded. (MetropolitanMuseum of Art, New York)<\/figcaption><\/figure>\n\u201cAnimal-Shaped Vessels from the Ancient World: Feasting with Gods, Heroes, and Kings\u201d<\/a> at Harvard Art Museums, Cambridge, Massachusetts, Sept. 7 to Jan. 6<\/h2>\nHarvard brings together nearly 60 drinking vessels shaped like animals\u2014a winged lion from Iran, a donkey from Greece, a ram from Persia, a duck from China\u2014to offer \u201ca glimpse into the rich symbolism and communal practices that found expression\u201d at ancient feasts.<\/p>\n
\n![\"Carrie](\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2018\/09\/picMcMullenWeemsBlack-and-Tanned-from-From-Here-I-Saw-What-Happened-and-I-Cried-870x1024.jpg\")
<\/a>Carrie Mae Weems, “Black and Tanned from From Here I Saw What Happened and I Cried,” 1995\u201396, chromogenic print and etched text on glass. (Courtesy of the artist)<\/figcaption><\/figure>\n“Carrie Mae Weems: Strategies of Engagement\u201d<\/a> at McMullen Museum of Art, Boston College, Boston, Sept. 10 to Dec. 13<\/h2>\nA three-decade survey of photos, videos and installations of translucent fabric by Weems \u201cthat expose systems of power and injustice.\u201d She speaks at the school on Sept. 10.<\/p>\n
\n![\"Nan](\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2018\/09\/picBUGoldin_Ivy-in-the-Boston-Garden-back-Boston_1973-3573-695x1024.jpg\")
<\/a>Nan Goldin, “Ivy in the Boston Garden: back, Boston,” 1973, gelatin silver print. (Courtesy Matthew Marks Gallery, New York)<\/figcaption><\/figure>\n\u201cUnder a Dismal Boston Skyline\u201d<\/a> at Boston University Stone Gallery, Boston, Sept. 14 to Oct. 28<\/h2>\nA look at art challenging archetypes of identity, gender and community that emerged from Boston in the late 1970s and \u201880s by Nan Goldin, Mark Morrisroe, Shellburne Thurber and others affiliated with what became known as \u201cthe Boston School\u201d and the photography, video, and performance by other local artists (Dead Art Star, Melanie Bernier, Steve Locke, Suara Welitoff) following along that path since.<\/p>\n
\n![\"Tuesday](\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2018\/09\/picRoseSmillieGENDERGENITALS-1024x432.jpg\")
<\/a>Tuesday Smillie, ‘Gender > Genitals,” 2012. (Courtesy Rose Art Museum, Brandeis University)<\/figcaption><\/figure>\n\u201cTuesday Smillie: To build another world\u201d<\/a> at Rose Art Museum, Brandeis University, Waltham, Massachusetts, Sept. 7 to Dec. 2<\/h2>\nThe New York artist riffs on the history of transgender-feminist protest banners and how science-fiction novels imagine\u00a0alternative ways of living.<\/p>\n
\n![\"Eric](\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2018\/09\/picCarleCaterpillar-1024x726.jpg\")
<\/a>Eric Carle, illustration for “The Very Hungry Caterpillar.” (\u00a9 1969, 1987 Eric Carle)<\/figcaption><\/figure>\n\u201cThe Very Hungry Caterpillar Turns 50\u201d<\/a> at Eric Carle Museum, Amherst, Massachusetts, Sept. 8 to March 24<\/h2>\nPublished in 1969, Carle\u2019s iconic children\u2019s book continues to delight, while also being a landmark example of turning a book into an interactive object.<\/p>\n
\n![\"Louisa](\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2018\/09\/picWorcesterLouisaDavisMinotNiagaraFalls1818w-1024x745.jpg\")
<\/a>Louisa Davis Minot (1788-1858), “Niagara Falls,” 1818, oil on canvas. (Courtesy Worcester Art Museum)<\/figcaption><\/figure>\n\u201cThe Poetry of Nature: Hudson River School Landscapes from the New-York Historical Society\u201d<\/a> at Worcester Art Museum, Worcester, Sept. 8 to Nov. 25<\/h2>\nA survey of 40 landscape paintings from 1818 to 1886 by artists who became known as the Hudson River School for their romantic artistic explorations of upstate New York and the wilds of New England, artworks that both celebrated the expanding colonization of the Northeast and ached with nostalgia for an imagined pure, wild place they feared had gone by.<\/p>\n
\n![\"Paul](\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2018\/09\/picAndoverPaulManshipDianacasting1925-837x1024.jpg\")
<\/a>Paul Manship, “Diana,” casting 1925, bronze on marble base. (Courtesy Addison Gallery of American Art)<\/figcaption><\/figure>\n\u201cFrom Starfield to MARS: Paul Manship and His Artistic Legacy\u201d<\/a> at Addison Gallery, Andover, Massachusetts, Sept. 15 to Jan. 20<\/h2>\nSleek art deco sculptures, models and studies by Manship (1885-1966) as well as photos by contemporary artists\u2014Barbara Bosworth, Justin Kimball, S. Billie Mandle and Abelardo Morell\u2014of the artist\u2019s summer house and studio in Gloucester, which is beginning to host artists-in-residence.<\/p>\n
\n![\"Ethan](\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2018\/09\/picCurrierMurrowLedgers-of-Hine-1024x1024.jpg\")
<\/a>Ethan Murrow, “Ledgers of Hine,” 2018, graphite on paper.<\/figcaption><\/figure>\n\u201cEthan Murrow: Hauling\u201d<\/a> at Currier Museum of Art, Manchester, New Hampshire, opens Sept. 15<\/h2>\nThe Boston artist, best known for his monumental drawings like one he drew on the wall of the lobby at Boston\u2019s Institute of Contemporary Art in 2016, will draw a mural in the museum \u201cinspired by the history of the Manchester region and its people, emphasizing labor and collaboration.\u201d<\/p>\n
\n![\"John](\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2018\/09\/picGardnerSargentw-686x1024.jpg\")
<\/a>John Singer Sargent, “Mrs. Fiske Warren (Gretchen Osgood) and Her Daughter Rachel,” 1903, oil on canvas. (Courtesy Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n\u201cClose Up: Sargent on Location: Gardner\u2019s First Artist-in-Residence\u201d<\/a> at Gardner Museum, Boston, Sept. 19 to Jan. 14<\/h2>\nIn the winter of 1903, shortly after the Gardner Museum first opened to the public, the dashing society portraitist John Singer Sargent used the museum\u2019s Gothic Room as his studio to paint one of Gardner\u2019s dear friends, Gretchen Osgood Warren, and her daughter Rachel. This exhibition returns the painting\u2014now in the collection of Boston\u2019s Museum of Fine Arts\u2014to the room where it was painted and tells its story with archival material.<\/p>\n
\n
<\/a>“Expressions Unbound: American Outsider Art from the Andrew and Linda Safran Collection”<\/a> at Tufts University Art Galleries, Aug. 29 through Dec. 16<\/strong><\/h2>\nVisionary art by some of the best of the 20th century\u2014including Thornton Dial, Bessie Harvey, William L. Hawkins, Mary T. Smith, Jimmy Lee Sudduth, and Purvis Young\u2014drawn from a recent gift to the university.<\/p>\n
\n<\/a>Tim Portlock, “Beach View in CASH4GOLD,” 2015, printed vinyl. (Courtesy SMFA at Tufts)<\/figcaption><\/figure>\n\u201cMuseum of Capitalism\u201d<\/a> at School of the Museum of Fine Arts at Tufts, Boston, Aug. 29 to Oct. 25<\/h2>\nThe \u201cMuseum\u201d is a project of Oakland, California, curators Timothy Furstnau and Andrea Steves to imagine the end of capitalism with exhibitions and talks exploring \u201cthe ideology, history, and legacy of capitalism.\u201d Its first exhibition was in Oakland a year ago. Here they round up artworks on the theme, plus talks on capitalism on Sept. 14 and housing in Boston on Oct. 16.<\/p>\n
\n<\/a><\/h2>\nAdolph Gottlieb, “Sea and Tide.” (Courtesy Provincetown Art Association and Museum)<\/p>\n
\u201cAdolph Gottlieb in Provincetown\u201d<\/a> at Provincetown Art Association and Museum, Provincetown, Massachusetts, Aug. 31 to Oct. 21<\/h2>\nGottlieb (1903-1974) was one of the leading pioneers of New York School Abstract Expressionism. This exhibition spans the years 1946 to 1957, plumbing works on paper and small oil paintings from his 1940s \u201cPictographs\u201d to his 1950s \u201cBurst\u201d paintings that he made while summering in Provincetown.<\/p>\n
\nSEPTEMBER<\/strong><\/h2>\n<\/a>Fred Eversley. (Courtesy Lesley University)<\/figcaption><\/figure>\n\u201cRadiant Space\u201d<\/a> at Lesley University\u2019s VanDernoot Gallery, Cambridge, Massachusetts, Sept. 4 to Oct. 7<\/h2>\nA showcase of artists sometimes affiliated with the effervescent, transcendental minimalism of California\u2019s \u201cLight & Space\u201d movement of the 1960s, including Fred Eversley and De Wain Valentine, plus some artists they inspired.<\/p>\n
\n<\/a>Rhyton with the forepart of a wild cat, Parthian, 1st century BCE, silver, partially gilded. (MetropolitanMuseum of Art, New York)<\/figcaption><\/figure>\n\u201cAnimal-Shaped Vessels from the Ancient World: Feasting with Gods, Heroes, and Kings\u201d<\/a> at Harvard Art Museums, Cambridge, Massachusetts, Sept. 7 to Jan. 6<\/h2>\nHarvard brings together nearly 60 drinking vessels shaped like animals\u2014a winged lion from Iran, a donkey from Greece, a ram from Persia, a duck from China\u2014to offer \u201ca glimpse into the rich symbolism and communal practices that found expression\u201d at ancient feasts.<\/p>\n
\n<\/a>Carrie Mae Weems, “Black and Tanned from From Here I Saw What Happened and I Cried,” 1995\u201396, chromogenic print and etched text on glass. (Courtesy of the artist)<\/figcaption><\/figure>\n“Carrie Mae Weems: Strategies of Engagement\u201d<\/a> at McMullen Museum of Art, Boston College, Boston, Sept. 10 to Dec. 13<\/h2>\nA three-decade survey of photos, videos and installations of translucent fabric by Weems \u201cthat expose systems of power and injustice.\u201d She speaks at the school on Sept. 10.<\/p>\n
\n<\/a>Nan Goldin, “Ivy in the Boston Garden: back, Boston,” 1973, gelatin silver print. (Courtesy Matthew Marks Gallery, New York)<\/figcaption><\/figure>\n\u201cUnder a Dismal Boston Skyline\u201d<\/a> at Boston University Stone Gallery, Boston, Sept. 14 to Oct. 28<\/h2>\nA look at art challenging archetypes of identity, gender and community that emerged from Boston in the late 1970s and \u201880s by Nan Goldin, Mark Morrisroe, Shellburne Thurber and others affiliated with what became known as \u201cthe Boston School\u201d and the photography, video, and performance by other local artists (Dead Art Star, Melanie Bernier, Steve Locke, Suara Welitoff) following along that path since.<\/p>\n
\n<\/a>Tuesday Smillie, ‘Gender > Genitals,” 2012. (Courtesy Rose Art Museum, Brandeis University)<\/figcaption><\/figure>\n\u201cTuesday Smillie: To build another world\u201d<\/a> at Rose Art Museum, Brandeis University, Waltham, Massachusetts, Sept. 7 to Dec. 2<\/h2>\nThe New York artist riffs on the history of transgender-feminist protest banners and how science-fiction novels imagine\u00a0alternative ways of living.<\/p>\n
\n<\/a>Eric Carle, illustration for “The Very Hungry Caterpillar.” (\u00a9 1969, 1987 Eric Carle)<\/figcaption><\/figure>\n\u201cThe Very Hungry Caterpillar Turns 50\u201d<\/a> at Eric Carle Museum, Amherst, Massachusetts, Sept. 8 to March 24<\/h2>\nPublished in 1969, Carle\u2019s iconic children\u2019s book continues to delight, while also being a landmark example of turning a book into an interactive object.<\/p>\n
\n<\/a>Louisa Davis Minot (1788-1858), “Niagara Falls,” 1818, oil on canvas. (Courtesy Worcester Art Museum)<\/figcaption><\/figure>\n\u201cThe Poetry of Nature: Hudson River School Landscapes from the New-York Historical Society\u201d<\/a> at Worcester Art Museum, Worcester, Sept. 8 to Nov. 25<\/h2>\nA survey of 40 landscape paintings from 1818 to 1886 by artists who became known as the Hudson River School for their romantic artistic explorations of upstate New York and the wilds of New England, artworks that both celebrated the expanding colonization of the Northeast and ached with nostalgia for an imagined pure, wild place they feared had gone by.<\/p>\n
\n<\/a>Paul Manship, “Diana,” casting 1925, bronze on marble base. (Courtesy Addison Gallery of American Art)<\/figcaption><\/figure>\n\u201cFrom Starfield to MARS: Paul Manship and His Artistic Legacy\u201d<\/a> at Addison Gallery, Andover, Massachusetts, Sept. 15 to Jan. 20<\/h2>\nSleek art deco sculptures, models and studies by Manship (1885-1966) as well as photos by contemporary artists\u2014Barbara Bosworth, Justin Kimball, S. Billie Mandle and Abelardo Morell\u2014of the artist\u2019s summer house and studio in Gloucester, which is beginning to host artists-in-residence.<\/p>\n
\n<\/a>Ethan Murrow, “Ledgers of Hine,” 2018, graphite on paper.<\/figcaption><\/figure>\n\u201cEthan Murrow: Hauling\u201d<\/a> at Currier Museum of Art, Manchester, New Hampshire, opens Sept. 15<\/h2>\nThe Boston artist, best known for his monumental drawings like one he drew on the wall of the lobby at Boston\u2019s Institute of Contemporary Art in 2016, will draw a mural in the museum \u201cinspired by the history of the Manchester region and its people, emphasizing labor and collaboration.\u201d<\/p>\n
\n<\/a>John Singer Sargent, “Mrs. Fiske Warren (Gretchen Osgood) and Her Daughter Rachel,” 1903, oil on canvas. (Courtesy Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n\u201cClose Up: Sargent on Location: Gardner\u2019s First Artist-in-Residence\u201d<\/a> at Gardner Museum, Boston, Sept. 19 to Jan. 14<\/h2>\nIn the winter of 1903, shortly after the Gardner Museum first opened to the public, the dashing society portraitist John Singer Sargent used the museum\u2019s Gothic Room as his studio to paint one of Gardner\u2019s dear friends, Gretchen Osgood Warren, and her daughter Rachel. This exhibition returns the painting\u2014now in the collection of Boston\u2019s Museum of Fine Arts\u2014to the room where it was painted and tells its story with archival material.<\/p>\n
\n
<\/a>\u201cMuseum of Capitalism\u201d<\/a> at School of the Museum of Fine Arts at Tufts, Boston, Aug. 29 to Oct. 25<\/h2>\nThe \u201cMuseum\u201d is a project of Oakland, California, curators Timothy Furstnau and Andrea Steves to imagine the end of capitalism with exhibitions and talks exploring \u201cthe ideology, history, and legacy of capitalism.\u201d Its first exhibition was in Oakland a year ago. Here they round up artworks on the theme, plus talks on capitalism on Sept. 14 and housing in Boston on Oct. 16.<\/p>\n
\n<\/a><\/h2>\nAdolph Gottlieb, “Sea and Tide.” (Courtesy Provincetown Art Association and Museum)<\/p>\n
\u201cAdolph Gottlieb in Provincetown\u201d<\/a> at Provincetown Art Association and Museum, Provincetown, Massachusetts, Aug. 31 to Oct. 21<\/h2>\nGottlieb (1903-1974) was one of the leading pioneers of New York School Abstract Expressionism. This exhibition spans the years 1946 to 1957, plumbing works on paper and small oil paintings from his 1940s \u201cPictographs\u201d to his 1950s \u201cBurst\u201d paintings that he made while summering in Provincetown.<\/p>\n
\nSEPTEMBER<\/strong><\/h2>\n<\/a>Fred Eversley. (Courtesy Lesley University)<\/figcaption><\/figure>\n\u201cRadiant Space\u201d<\/a> at Lesley University\u2019s VanDernoot Gallery, Cambridge, Massachusetts, Sept. 4 to Oct. 7<\/h2>\nA showcase of artists sometimes affiliated with the effervescent, transcendental minimalism of California\u2019s \u201cLight & Space\u201d movement of the 1960s, including Fred Eversley and De Wain Valentine, plus some artists they inspired.<\/p>\n
\n<\/a>Rhyton with the forepart of a wild cat, Parthian, 1st century BCE, silver, partially gilded. (MetropolitanMuseum of Art, New York)<\/figcaption><\/figure>\n\u201cAnimal-Shaped Vessels from the Ancient World: Feasting with Gods, Heroes, and Kings\u201d<\/a> at Harvard Art Museums, Cambridge, Massachusetts, Sept. 7 to Jan. 6<\/h2>\nHarvard brings together nearly 60 drinking vessels shaped like animals\u2014a winged lion from Iran, a donkey from Greece, a ram from Persia, a duck from China\u2014to offer \u201ca glimpse into the rich symbolism and communal practices that found expression\u201d at ancient feasts.<\/p>\n
\n<\/a>Carrie Mae Weems, “Black and Tanned from From Here I Saw What Happened and I Cried,” 1995\u201396, chromogenic print and etched text on glass. (Courtesy of the artist)<\/figcaption><\/figure>\n“Carrie Mae Weems: Strategies of Engagement\u201d<\/a> at McMullen Museum of Art, Boston College, Boston, Sept. 10 to Dec. 13<\/h2>\nA three-decade survey of photos, videos and installations of translucent fabric by Weems \u201cthat expose systems of power and injustice.\u201d She speaks at the school on Sept. 10.<\/p>\n
\n<\/a>Nan Goldin, “Ivy in the Boston Garden: back, Boston,” 1973, gelatin silver print. (Courtesy Matthew Marks Gallery, New York)<\/figcaption><\/figure>\n\u201cUnder a Dismal Boston Skyline\u201d<\/a> at Boston University Stone Gallery, Boston, Sept. 14 to Oct. 28<\/h2>\nA look at art challenging archetypes of identity, gender and community that emerged from Boston in the late 1970s and \u201880s by Nan Goldin, Mark Morrisroe, Shellburne Thurber and others affiliated with what became known as \u201cthe Boston School\u201d and the photography, video, and performance by other local artists (Dead Art Star, Melanie Bernier, Steve Locke, Suara Welitoff) following along that path since.<\/p>\n
\n<\/a>Tuesday Smillie, ‘Gender > Genitals,” 2012. (Courtesy Rose Art Museum, Brandeis University)<\/figcaption><\/figure>\n\u201cTuesday Smillie: To build another world\u201d<\/a> at Rose Art Museum, Brandeis University, Waltham, Massachusetts, Sept. 7 to Dec. 2<\/h2>\nThe New York artist riffs on the history of transgender-feminist protest banners and how science-fiction novels imagine\u00a0alternative ways of living.<\/p>\n
\n<\/a>Eric Carle, illustration for “The Very Hungry Caterpillar.” (\u00a9 1969, 1987 Eric Carle)<\/figcaption><\/figure>\n\u201cThe Very Hungry Caterpillar Turns 50\u201d<\/a> at Eric Carle Museum, Amherst, Massachusetts, Sept. 8 to March 24<\/h2>\nPublished in 1969, Carle\u2019s iconic children\u2019s book continues to delight, while also being a landmark example of turning a book into an interactive object.<\/p>\n
\n<\/a>Louisa Davis Minot (1788-1858), “Niagara Falls,” 1818, oil on canvas. (Courtesy Worcester Art Museum)<\/figcaption><\/figure>\n\u201cThe Poetry of Nature: Hudson River School Landscapes from the New-York Historical Society\u201d<\/a> at Worcester Art Museum, Worcester, Sept. 8 to Nov. 25<\/h2>\nA survey of 40 landscape paintings from 1818 to 1886 by artists who became known as the Hudson River School for their romantic artistic explorations of upstate New York and the wilds of New England, artworks that both celebrated the expanding colonization of the Northeast and ached with nostalgia for an imagined pure, wild place they feared had gone by.<\/p>\n
\n<\/a>Paul Manship, “Diana,” casting 1925, bronze on marble base. (Courtesy Addison Gallery of American Art)<\/figcaption><\/figure>\n\u201cFrom Starfield to MARS: Paul Manship and His Artistic Legacy\u201d<\/a> at Addison Gallery, Andover, Massachusetts, Sept. 15 to Jan. 20<\/h2>\nSleek art deco sculptures, models and studies by Manship (1885-1966) as well as photos by contemporary artists\u2014Barbara Bosworth, Justin Kimball, S. Billie Mandle and Abelardo Morell\u2014of the artist\u2019s summer house and studio in Gloucester, which is beginning to host artists-in-residence.<\/p>\n
\n<\/a>Ethan Murrow, “Ledgers of Hine,” 2018, graphite on paper.<\/figcaption><\/figure>\n\u201cEthan Murrow: Hauling\u201d<\/a> at Currier Museum of Art, Manchester, New Hampshire, opens Sept. 15<\/h2>\nThe Boston artist, best known for his monumental drawings like one he drew on the wall of the lobby at Boston\u2019s Institute of Contemporary Art in 2016, will draw a mural in the museum \u201cinspired by the history of the Manchester region and its people, emphasizing labor and collaboration.\u201d<\/p>\n
\n<\/a>John Singer Sargent, “Mrs. Fiske Warren (Gretchen Osgood) and Her Daughter Rachel,” 1903, oil on canvas. (Courtesy Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n\u201cClose Up: Sargent on Location: Gardner\u2019s First Artist-in-Residence\u201d<\/a> at Gardner Museum, Boston, Sept. 19 to Jan. 14<\/h2>\nIn the winter of 1903, shortly after the Gardner Museum first opened to the public, the dashing society portraitist John Singer Sargent used the museum\u2019s Gothic Room as his studio to paint one of Gardner\u2019s dear friends, Gretchen Osgood Warren, and her daughter Rachel. This exhibition returns the painting\u2014now in the collection of Boston\u2019s Museum of Fine Arts\u2014to the room where it was painted and tells its story with archival material.<\/p>\n
\n
<\/a><\/h2>\nAdolph Gottlieb, “Sea and Tide.” (Courtesy Provincetown Art Association and Museum)<\/p>\n
\u201cAdolph Gottlieb in Provincetown\u201d<\/a> at Provincetown Art Association and Museum, Provincetown, Massachusetts, Aug. 31 to Oct. 21<\/h2>\nGottlieb (1903-1974) was one of the leading pioneers of New York School Abstract Expressionism. This exhibition spans the years 1946 to 1957, plumbing works on paper and small oil paintings from his 1940s \u201cPictographs\u201d to his 1950s \u201cBurst\u201d paintings that he made while summering in Provincetown.<\/p>\n
\nSEPTEMBER<\/strong><\/h2>\n<\/a>Fred Eversley. (Courtesy Lesley University)<\/figcaption><\/figure>\n\u201cRadiant Space\u201d<\/a> at Lesley University\u2019s VanDernoot Gallery, Cambridge, Massachusetts, Sept. 4 to Oct. 7<\/h2>\nA showcase of artists sometimes affiliated with the effervescent, transcendental minimalism of California\u2019s \u201cLight & Space\u201d movement of the 1960s, including Fred Eversley and De Wain Valentine, plus some artists they inspired.<\/p>\n
\n<\/a>Rhyton with the forepart of a wild cat, Parthian, 1st century BCE, silver, partially gilded. (MetropolitanMuseum of Art, New York)<\/figcaption><\/figure>\n\u201cAnimal-Shaped Vessels from the Ancient World: Feasting with Gods, Heroes, and Kings\u201d<\/a> at Harvard Art Museums, Cambridge, Massachusetts, Sept. 7 to Jan. 6<\/h2>\nHarvard brings together nearly 60 drinking vessels shaped like animals\u2014a winged lion from Iran, a donkey from Greece, a ram from Persia, a duck from China\u2014to offer \u201ca glimpse into the rich symbolism and communal practices that found expression\u201d at ancient feasts.<\/p>\n
\n<\/a>Carrie Mae Weems, “Black and Tanned from From Here I Saw What Happened and I Cried,” 1995\u201396, chromogenic print and etched text on glass. (Courtesy of the artist)<\/figcaption><\/figure>\n“Carrie Mae Weems: Strategies of Engagement\u201d<\/a> at McMullen Museum of Art, Boston College, Boston, Sept. 10 to Dec. 13<\/h2>\nA three-decade survey of photos, videos and installations of translucent fabric by Weems \u201cthat expose systems of power and injustice.\u201d She speaks at the school on Sept. 10.<\/p>\n
\n<\/a>Nan Goldin, “Ivy in the Boston Garden: back, Boston,” 1973, gelatin silver print. (Courtesy Matthew Marks Gallery, New York)<\/figcaption><\/figure>\n\u201cUnder a Dismal Boston Skyline\u201d<\/a> at Boston University Stone Gallery, Boston, Sept. 14 to Oct. 28<\/h2>\nA look at art challenging archetypes of identity, gender and community that emerged from Boston in the late 1970s and \u201880s by Nan Goldin, Mark Morrisroe, Shellburne Thurber and others affiliated with what became known as \u201cthe Boston School\u201d and the photography, video, and performance by other local artists (Dead Art Star, Melanie Bernier, Steve Locke, Suara Welitoff) following along that path since.<\/p>\n
\n<\/a>Tuesday Smillie, ‘Gender > Genitals,” 2012. (Courtesy Rose Art Museum, Brandeis University)<\/figcaption><\/figure>\n\u201cTuesday Smillie: To build another world\u201d<\/a> at Rose Art Museum, Brandeis University, Waltham, Massachusetts, Sept. 7 to Dec. 2<\/h2>\nThe New York artist riffs on the history of transgender-feminist protest banners and how science-fiction novels imagine\u00a0alternative ways of living.<\/p>\n
\n<\/a>Eric Carle, illustration for “The Very Hungry Caterpillar.” (\u00a9 1969, 1987 Eric Carle)<\/figcaption><\/figure>\n\u201cThe Very Hungry Caterpillar Turns 50\u201d<\/a> at Eric Carle Museum, Amherst, Massachusetts, Sept. 8 to March 24<\/h2>\nPublished in 1969, Carle\u2019s iconic children\u2019s book continues to delight, while also being a landmark example of turning a book into an interactive object.<\/p>\n
\n<\/a>Louisa Davis Minot (1788-1858), “Niagara Falls,” 1818, oil on canvas. (Courtesy Worcester Art Museum)<\/figcaption><\/figure>\n\u201cThe Poetry of Nature: Hudson River School Landscapes from the New-York Historical Society\u201d<\/a> at Worcester Art Museum, Worcester, Sept. 8 to Nov. 25<\/h2>\nA survey of 40 landscape paintings from 1818 to 1886 by artists who became known as the Hudson River School for their romantic artistic explorations of upstate New York and the wilds of New England, artworks that both celebrated the expanding colonization of the Northeast and ached with nostalgia for an imagined pure, wild place they feared had gone by.<\/p>\n
\n<\/a>Paul Manship, “Diana,” casting 1925, bronze on marble base. (Courtesy Addison Gallery of American Art)<\/figcaption><\/figure>\n\u201cFrom Starfield to MARS: Paul Manship and His Artistic Legacy\u201d<\/a> at Addison Gallery, Andover, Massachusetts, Sept. 15 to Jan. 20<\/h2>\nSleek art deco sculptures, models and studies by Manship (1885-1966) as well as photos by contemporary artists\u2014Barbara Bosworth, Justin Kimball, S. Billie Mandle and Abelardo Morell\u2014of the artist\u2019s summer house and studio in Gloucester, which is beginning to host artists-in-residence.<\/p>\n
\n<\/a>Ethan Murrow, “Ledgers of Hine,” 2018, graphite on paper.<\/figcaption><\/figure>\n\u201cEthan Murrow: Hauling\u201d<\/a> at Currier Museum of Art, Manchester, New Hampshire, opens Sept. 15<\/h2>\nThe Boston artist, best known for his monumental drawings like one he drew on the wall of the lobby at Boston\u2019s Institute of Contemporary Art in 2016, will draw a mural in the museum \u201cinspired by the history of the Manchester region and its people, emphasizing labor and collaboration.\u201d<\/p>\n
\n<\/a>John Singer Sargent, “Mrs. Fiske Warren (Gretchen Osgood) and Her Daughter Rachel,” 1903, oil on canvas. (Courtesy Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n\u201cClose Up: Sargent on Location: Gardner\u2019s First Artist-in-Residence\u201d<\/a> at Gardner Museum, Boston, Sept. 19 to Jan. 14<\/h2>\nIn the winter of 1903, shortly after the Gardner Museum first opened to the public, the dashing society portraitist John Singer Sargent used the museum\u2019s Gothic Room as his studio to paint one of Gardner\u2019s dear friends, Gretchen Osgood Warren, and her daughter Rachel. This exhibition returns the painting\u2014now in the collection of Boston\u2019s Museum of Fine Arts\u2014to the room where it was painted and tells its story with archival material.<\/p>\n
\n
<\/a>\u201cRadiant Space\u201d<\/a> at Lesley University\u2019s VanDernoot Gallery, Cambridge, Massachusetts, Sept. 4 to Oct. 7<\/h2>\nA showcase of artists sometimes affiliated with the effervescent, transcendental minimalism of California\u2019s \u201cLight & Space\u201d movement of the 1960s, including Fred Eversley and De Wain Valentine, plus some artists they inspired.<\/p>\n
\n<\/a>Rhyton with the forepart of a wild cat, Parthian, 1st century BCE, silver, partially gilded. (MetropolitanMuseum of Art, New York)<\/figcaption><\/figure>\n\u201cAnimal-Shaped Vessels from the Ancient World: Feasting with Gods, Heroes, and Kings\u201d<\/a> at Harvard Art Museums, Cambridge, Massachusetts, Sept. 7 to Jan. 6<\/h2>\nHarvard brings together nearly 60 drinking vessels shaped like animals\u2014a winged lion from Iran, a donkey from Greece, a ram from Persia, a duck from China\u2014to offer \u201ca glimpse into the rich symbolism and communal practices that found expression\u201d at ancient feasts.<\/p>\n
\n<\/a>Carrie Mae Weems, “Black and Tanned from From Here I Saw What Happened and I Cried,” 1995\u201396, chromogenic print and etched text on glass. (Courtesy of the artist)<\/figcaption><\/figure>\n“Carrie Mae Weems: Strategies of Engagement\u201d<\/a> at McMullen Museum of Art, Boston College, Boston, Sept. 10 to Dec. 13<\/h2>\nA three-decade survey of photos, videos and installations of translucent fabric by Weems \u201cthat expose systems of power and injustice.\u201d She speaks at the school on Sept. 10.<\/p>\n
\n<\/a>Nan Goldin, “Ivy in the Boston Garden: back, Boston,” 1973, gelatin silver print. (Courtesy Matthew Marks Gallery, New York)<\/figcaption><\/figure>\n\u201cUnder a Dismal Boston Skyline\u201d<\/a> at Boston University Stone Gallery, Boston, Sept. 14 to Oct. 28<\/h2>\nA look at art challenging archetypes of identity, gender and community that emerged from Boston in the late 1970s and \u201880s by Nan Goldin, Mark Morrisroe, Shellburne Thurber and others affiliated with what became known as \u201cthe Boston School\u201d and the photography, video, and performance by other local artists (Dead Art Star, Melanie Bernier, Steve Locke, Suara Welitoff) following along that path since.<\/p>\n
\n<\/a>Tuesday Smillie, ‘Gender > Genitals,” 2012. (Courtesy Rose Art Museum, Brandeis University)<\/figcaption><\/figure>\n\u201cTuesday Smillie: To build another world\u201d<\/a> at Rose Art Museum, Brandeis University, Waltham, Massachusetts, Sept. 7 to Dec. 2<\/h2>\nThe New York artist riffs on the history of transgender-feminist protest banners and how science-fiction novels imagine\u00a0alternative ways of living.<\/p>\n
\n<\/a>Eric Carle, illustration for “The Very Hungry Caterpillar.” (\u00a9 1969, 1987 Eric Carle)<\/figcaption><\/figure>\n\u201cThe Very Hungry Caterpillar Turns 50\u201d<\/a> at Eric Carle Museum, Amherst, Massachusetts, Sept. 8 to March 24<\/h2>\nPublished in 1969, Carle\u2019s iconic children\u2019s book continues to delight, while also being a landmark example of turning a book into an interactive object.<\/p>\n
\n<\/a>Louisa Davis Minot (1788-1858), “Niagara Falls,” 1818, oil on canvas. (Courtesy Worcester Art Museum)<\/figcaption><\/figure>\n\u201cThe Poetry of Nature: Hudson River School Landscapes from the New-York Historical Society\u201d<\/a> at Worcester Art Museum, Worcester, Sept. 8 to Nov. 25<\/h2>\nA survey of 40 landscape paintings from 1818 to 1886 by artists who became known as the Hudson River School for their romantic artistic explorations of upstate New York and the wilds of New England, artworks that both celebrated the expanding colonization of the Northeast and ached with nostalgia for an imagined pure, wild place they feared had gone by.<\/p>\n
\n<\/a>Paul Manship, “Diana,” casting 1925, bronze on marble base. (Courtesy Addison Gallery of American Art)<\/figcaption><\/figure>\n\u201cFrom Starfield to MARS: Paul Manship and His Artistic Legacy\u201d<\/a> at Addison Gallery, Andover, Massachusetts, Sept. 15 to Jan. 20<\/h2>\nSleek art deco sculptures, models and studies by Manship (1885-1966) as well as photos by contemporary artists\u2014Barbara Bosworth, Justin Kimball, S. Billie Mandle and Abelardo Morell\u2014of the artist\u2019s summer house and studio in Gloucester, which is beginning to host artists-in-residence.<\/p>\n
\n<\/a>Ethan Murrow, “Ledgers of Hine,” 2018, graphite on paper.<\/figcaption><\/figure>\n\u201cEthan Murrow: Hauling\u201d<\/a> at Currier Museum of Art, Manchester, New Hampshire, opens Sept. 15<\/h2>\nThe Boston artist, best known for his monumental drawings like one he drew on the wall of the lobby at Boston\u2019s Institute of Contemporary Art in 2016, will draw a mural in the museum \u201cinspired by the history of the Manchester region and its people, emphasizing labor and collaboration.\u201d<\/p>\n
\n<\/a>John Singer Sargent, “Mrs. Fiske Warren (Gretchen Osgood) and Her Daughter Rachel,” 1903, oil on canvas. (Courtesy Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n\u201cClose Up: Sargent on Location: Gardner\u2019s First Artist-in-Residence\u201d<\/a> at Gardner Museum, Boston, Sept. 19 to Jan. 14<\/h2>\nIn the winter of 1903, shortly after the Gardner Museum first opened to the public, the dashing society portraitist John Singer Sargent used the museum\u2019s Gothic Room as his studio to paint one of Gardner\u2019s dear friends, Gretchen Osgood Warren, and her daughter Rachel. This exhibition returns the painting\u2014now in the collection of Boston\u2019s Museum of Fine Arts\u2014to the room where it was painted and tells its story with archival material.<\/p>\n
\n
<\/a>\u201cAnimal-Shaped Vessels from the Ancient World: Feasting with Gods, Heroes, and Kings\u201d<\/a> at Harvard Art Museums, Cambridge, Massachusetts, Sept. 7 to Jan. 6<\/h2>\nHarvard brings together nearly 60 drinking vessels shaped like animals\u2014a winged lion from Iran, a donkey from Greece, a ram from Persia, a duck from China\u2014to offer \u201ca glimpse into the rich symbolism and communal practices that found expression\u201d at ancient feasts.<\/p>\n
\n<\/a>Carrie Mae Weems, “Black and Tanned from From Here I Saw What Happened and I Cried,” 1995\u201396, chromogenic print and etched text on glass. (Courtesy of the artist)<\/figcaption><\/figure>\n“Carrie Mae Weems: Strategies of Engagement\u201d<\/a> at McMullen Museum of Art, Boston College, Boston, Sept. 10 to Dec. 13<\/h2>\nA three-decade survey of photos, videos and installations of translucent fabric by Weems \u201cthat expose systems of power and injustice.\u201d She speaks at the school on Sept. 10.<\/p>\n
\n<\/a>Nan Goldin, “Ivy in the Boston Garden: back, Boston,” 1973, gelatin silver print. (Courtesy Matthew Marks Gallery, New York)<\/figcaption><\/figure>\n\u201cUnder a Dismal Boston Skyline\u201d<\/a> at Boston University Stone Gallery, Boston, Sept. 14 to Oct. 28<\/h2>\nA look at art challenging archetypes of identity, gender and community that emerged from Boston in the late 1970s and \u201880s by Nan Goldin, Mark Morrisroe, Shellburne Thurber and others affiliated with what became known as \u201cthe Boston School\u201d and the photography, video, and performance by other local artists (Dead Art Star, Melanie Bernier, Steve Locke, Suara Welitoff) following along that path since.<\/p>\n
\n<\/a>Tuesday Smillie, ‘Gender > Genitals,” 2012. (Courtesy Rose Art Museum, Brandeis University)<\/figcaption><\/figure>\n\u201cTuesday Smillie: To build another world\u201d<\/a> at Rose Art Museum, Brandeis University, Waltham, Massachusetts, Sept. 7 to Dec. 2<\/h2>\nThe New York artist riffs on the history of transgender-feminist protest banners and how science-fiction novels imagine\u00a0alternative ways of living.<\/p>\n
\n<\/a>Eric Carle, illustration for “The Very Hungry Caterpillar.” (\u00a9 1969, 1987 Eric Carle)<\/figcaption><\/figure>\n\u201cThe Very Hungry Caterpillar Turns 50\u201d<\/a> at Eric Carle Museum, Amherst, Massachusetts, Sept. 8 to March 24<\/h2>\nPublished in 1969, Carle\u2019s iconic children\u2019s book continues to delight, while also being a landmark example of turning a book into an interactive object.<\/p>\n
\n<\/a>Louisa Davis Minot (1788-1858), “Niagara Falls,” 1818, oil on canvas. (Courtesy Worcester Art Museum)<\/figcaption><\/figure>\n\u201cThe Poetry of Nature: Hudson River School Landscapes from the New-York Historical Society\u201d<\/a> at Worcester Art Museum, Worcester, Sept. 8 to Nov. 25<\/h2>\nA survey of 40 landscape paintings from 1818 to 1886 by artists who became known as the Hudson River School for their romantic artistic explorations of upstate New York and the wilds of New England, artworks that both celebrated the expanding colonization of the Northeast and ached with nostalgia for an imagined pure, wild place they feared had gone by.<\/p>\n
\n<\/a>Paul Manship, “Diana,” casting 1925, bronze on marble base. (Courtesy Addison Gallery of American Art)<\/figcaption><\/figure>\n\u201cFrom Starfield to MARS: Paul Manship and His Artistic Legacy\u201d<\/a> at Addison Gallery, Andover, Massachusetts, Sept. 15 to Jan. 20<\/h2>\nSleek art deco sculptures, models and studies by Manship (1885-1966) as well as photos by contemporary artists\u2014Barbara Bosworth, Justin Kimball, S. Billie Mandle and Abelardo Morell\u2014of the artist\u2019s summer house and studio in Gloucester, which is beginning to host artists-in-residence.<\/p>\n
\n<\/a>Ethan Murrow, “Ledgers of Hine,” 2018, graphite on paper.<\/figcaption><\/figure>\n\u201cEthan Murrow: Hauling\u201d<\/a> at Currier Museum of Art, Manchester, New Hampshire, opens Sept. 15<\/h2>\nThe Boston artist, best known for his monumental drawings like one he drew on the wall of the lobby at Boston\u2019s Institute of Contemporary Art in 2016, will draw a mural in the museum \u201cinspired by the history of the Manchester region and its people, emphasizing labor and collaboration.\u201d<\/p>\n
\n<\/a>John Singer Sargent, “Mrs. Fiske Warren (Gretchen Osgood) and Her Daughter Rachel,” 1903, oil on canvas. (Courtesy Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n\u201cClose Up: Sargent on Location: Gardner\u2019s First Artist-in-Residence\u201d<\/a> at Gardner Museum, Boston, Sept. 19 to Jan. 14<\/h2>\nIn the winter of 1903, shortly after the Gardner Museum first opened to the public, the dashing society portraitist John Singer Sargent used the museum\u2019s Gothic Room as his studio to paint one of Gardner\u2019s dear friends, Gretchen Osgood Warren, and her daughter Rachel. This exhibition returns the painting\u2014now in the collection of Boston\u2019s Museum of Fine Arts\u2014to the room where it was painted and tells its story with archival material.<\/p>\n
\n
<\/a>“Carrie Mae Weems: Strategies of Engagement\u201d<\/a> at McMullen Museum of Art, Boston College, Boston, Sept. 10 to Dec. 13<\/h2>\nA three-decade survey of photos, videos and installations of translucent fabric by Weems \u201cthat expose systems of power and injustice.\u201d She speaks at the school on Sept. 10.<\/p>\n
\n<\/a>Nan Goldin, “Ivy in the Boston Garden: back, Boston,” 1973, gelatin silver print. (Courtesy Matthew Marks Gallery, New York)<\/figcaption><\/figure>\n\u201cUnder a Dismal Boston Skyline\u201d<\/a> at Boston University Stone Gallery, Boston, Sept. 14 to Oct. 28<\/h2>\nA look at art challenging archetypes of identity, gender and community that emerged from Boston in the late 1970s and \u201880s by Nan Goldin, Mark Morrisroe, Shellburne Thurber and others affiliated with what became known as \u201cthe Boston School\u201d and the photography, video, and performance by other local artists (Dead Art Star, Melanie Bernier, Steve Locke, Suara Welitoff) following along that path since.<\/p>\n
\n<\/a>Tuesday Smillie, ‘Gender > Genitals,” 2012. (Courtesy Rose Art Museum, Brandeis University)<\/figcaption><\/figure>\n\u201cTuesday Smillie: To build another world\u201d<\/a> at Rose Art Museum, Brandeis University, Waltham, Massachusetts, Sept. 7 to Dec. 2<\/h2>\nThe New York artist riffs on the history of transgender-feminist protest banners and how science-fiction novels imagine\u00a0alternative ways of living.<\/p>\n
\n<\/a>Eric Carle, illustration for “The Very Hungry Caterpillar.” (\u00a9 1969, 1987 Eric Carle)<\/figcaption><\/figure>\n\u201cThe Very Hungry Caterpillar Turns 50\u201d<\/a> at Eric Carle Museum, Amherst, Massachusetts, Sept. 8 to March 24<\/h2>\nPublished in 1969, Carle\u2019s iconic children\u2019s book continues to delight, while also being a landmark example of turning a book into an interactive object.<\/p>\n
\n<\/a>Louisa Davis Minot (1788-1858), “Niagara Falls,” 1818, oil on canvas. (Courtesy Worcester Art Museum)<\/figcaption><\/figure>\n\u201cThe Poetry of Nature: Hudson River School Landscapes from the New-York Historical Society\u201d<\/a> at Worcester Art Museum, Worcester, Sept. 8 to Nov. 25<\/h2>\nA survey of 40 landscape paintings from 1818 to 1886 by artists who became known as the Hudson River School for their romantic artistic explorations of upstate New York and the wilds of New England, artworks that both celebrated the expanding colonization of the Northeast and ached with nostalgia for an imagined pure, wild place they feared had gone by.<\/p>\n
\n<\/a>Paul Manship, “Diana,” casting 1925, bronze on marble base. (Courtesy Addison Gallery of American Art)<\/figcaption><\/figure>\n\u201cFrom Starfield to MARS: Paul Manship and His Artistic Legacy\u201d<\/a> at Addison Gallery, Andover, Massachusetts, Sept. 15 to Jan. 20<\/h2>\nSleek art deco sculptures, models and studies by Manship (1885-1966) as well as photos by contemporary artists\u2014Barbara Bosworth, Justin Kimball, S. Billie Mandle and Abelardo Morell\u2014of the artist\u2019s summer house and studio in Gloucester, which is beginning to host artists-in-residence.<\/p>\n
\n<\/a>Ethan Murrow, “Ledgers of Hine,” 2018, graphite on paper.<\/figcaption><\/figure>\n\u201cEthan Murrow: Hauling\u201d<\/a> at Currier Museum of Art, Manchester, New Hampshire, opens Sept. 15<\/h2>\nThe Boston artist, best known for his monumental drawings like one he drew on the wall of the lobby at Boston\u2019s Institute of Contemporary Art in 2016, will draw a mural in the museum \u201cinspired by the history of the Manchester region and its people, emphasizing labor and collaboration.\u201d<\/p>\n
\n<\/a>John Singer Sargent, “Mrs. Fiske Warren (Gretchen Osgood) and Her Daughter Rachel,” 1903, oil on canvas. (Courtesy Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n\u201cClose Up: Sargent on Location: Gardner\u2019s First Artist-in-Residence\u201d<\/a> at Gardner Museum, Boston, Sept. 19 to Jan. 14<\/h2>\nIn the winter of 1903, shortly after the Gardner Museum first opened to the public, the dashing society portraitist John Singer Sargent used the museum\u2019s Gothic Room as his studio to paint one of Gardner\u2019s dear friends, Gretchen Osgood Warren, and her daughter Rachel. This exhibition returns the painting\u2014now in the collection of Boston\u2019s Museum of Fine Arts\u2014to the room where it was painted and tells its story with archival material.<\/p>\n
\n
<\/a>\u201cUnder a Dismal Boston Skyline\u201d<\/a> at Boston University Stone Gallery, Boston, Sept. 14 to Oct. 28<\/h2>\nA look at art challenging archetypes of identity, gender and community that emerged from Boston in the late 1970s and \u201880s by Nan Goldin, Mark Morrisroe, Shellburne Thurber and others affiliated with what became known as \u201cthe Boston School\u201d and the photography, video, and performance by other local artists (Dead Art Star, Melanie Bernier, Steve Locke, Suara Welitoff) following along that path since.<\/p>\n
\n<\/a>Tuesday Smillie, ‘Gender > Genitals,” 2012. (Courtesy Rose Art Museum, Brandeis University)<\/figcaption><\/figure>\n\u201cTuesday Smillie: To build another world\u201d<\/a> at Rose Art Museum, Brandeis University, Waltham, Massachusetts, Sept. 7 to Dec. 2<\/h2>\nThe New York artist riffs on the history of transgender-feminist protest banners and how science-fiction novels imagine\u00a0alternative ways of living.<\/p>\n
\n<\/a>Eric Carle, illustration for “The Very Hungry Caterpillar.” (\u00a9 1969, 1987 Eric Carle)<\/figcaption><\/figure>\n\u201cThe Very Hungry Caterpillar Turns 50\u201d<\/a> at Eric Carle Museum, Amherst, Massachusetts, Sept. 8 to March 24<\/h2>\nPublished in 1969, Carle\u2019s iconic children\u2019s book continues to delight, while also being a landmark example of turning a book into an interactive object.<\/p>\n
\n<\/a>Louisa Davis Minot (1788-1858), “Niagara Falls,” 1818, oil on canvas. (Courtesy Worcester Art Museum)<\/figcaption><\/figure>\n\u201cThe Poetry of Nature: Hudson River School Landscapes from the New-York Historical Society\u201d<\/a> at Worcester Art Museum, Worcester, Sept. 8 to Nov. 25<\/h2>\nA survey of 40 landscape paintings from 1818 to 1886 by artists who became known as the Hudson River School for their romantic artistic explorations of upstate New York and the wilds of New England, artworks that both celebrated the expanding colonization of the Northeast and ached with nostalgia for an imagined pure, wild place they feared had gone by.<\/p>\n
\n<\/a>Paul Manship, “Diana,” casting 1925, bronze on marble base. (Courtesy Addison Gallery of American Art)<\/figcaption><\/figure>\n\u201cFrom Starfield to MARS: Paul Manship and His Artistic Legacy\u201d<\/a> at Addison Gallery, Andover, Massachusetts, Sept. 15 to Jan. 20<\/h2>\nSleek art deco sculptures, models and studies by Manship (1885-1966) as well as photos by contemporary artists\u2014Barbara Bosworth, Justin Kimball, S. Billie Mandle and Abelardo Morell\u2014of the artist\u2019s summer house and studio in Gloucester, which is beginning to host artists-in-residence.<\/p>\n
\n<\/a>Ethan Murrow, “Ledgers of Hine,” 2018, graphite on paper.<\/figcaption><\/figure>\n\u201cEthan Murrow: Hauling\u201d<\/a> at Currier Museum of Art, Manchester, New Hampshire, opens Sept. 15<\/h2>\nThe Boston artist, best known for his monumental drawings like one he drew on the wall of the lobby at Boston\u2019s Institute of Contemporary Art in 2016, will draw a mural in the museum \u201cinspired by the history of the Manchester region and its people, emphasizing labor and collaboration.\u201d<\/p>\n
\n<\/a>John Singer Sargent, “Mrs. Fiske Warren (Gretchen Osgood) and Her Daughter Rachel,” 1903, oil on canvas. (Courtesy Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n\u201cClose Up: Sargent on Location: Gardner\u2019s First Artist-in-Residence\u201d<\/a> at Gardner Museum, Boston, Sept. 19 to Jan. 14<\/h2>\nIn the winter of 1903, shortly after the Gardner Museum first opened to the public, the dashing society portraitist John Singer Sargent used the museum\u2019s Gothic Room as his studio to paint one of Gardner\u2019s dear friends, Gretchen Osgood Warren, and her daughter Rachel. This exhibition returns the painting\u2014now in the collection of Boston\u2019s Museum of Fine Arts\u2014to the room where it was painted and tells its story with archival material.<\/p>\n
\n
<\/a>\u201cTuesday Smillie: To build another world\u201d<\/a> at Rose Art Museum, Brandeis University, Waltham, Massachusetts, Sept. 7 to Dec. 2<\/h2>\nThe New York artist riffs on the history of transgender-feminist protest banners and how science-fiction novels imagine\u00a0alternative ways of living.<\/p>\n
\n<\/a>Eric Carle, illustration for “The Very Hungry Caterpillar.” (\u00a9 1969, 1987 Eric Carle)<\/figcaption><\/figure>\n\u201cThe Very Hungry Caterpillar Turns 50\u201d<\/a> at Eric Carle Museum, Amherst, Massachusetts, Sept. 8 to March 24<\/h2>\nPublished in 1969, Carle\u2019s iconic children\u2019s book continues to delight, while also being a landmark example of turning a book into an interactive object.<\/p>\n
\n<\/a>Louisa Davis Minot (1788-1858), “Niagara Falls,” 1818, oil on canvas. (Courtesy Worcester Art Museum)<\/figcaption><\/figure>\n\u201cThe Poetry of Nature: Hudson River School Landscapes from the New-York Historical Society\u201d<\/a> at Worcester Art Museum, Worcester, Sept. 8 to Nov. 25<\/h2>\nA survey of 40 landscape paintings from 1818 to 1886 by artists who became known as the Hudson River School for their romantic artistic explorations of upstate New York and the wilds of New England, artworks that both celebrated the expanding colonization of the Northeast and ached with nostalgia for an imagined pure, wild place they feared had gone by.<\/p>\n
\n<\/a>Paul Manship, “Diana,” casting 1925, bronze on marble base. (Courtesy Addison Gallery of American Art)<\/figcaption><\/figure>\n\u201cFrom Starfield to MARS: Paul Manship and His Artistic Legacy\u201d<\/a> at Addison Gallery, Andover, Massachusetts, Sept. 15 to Jan. 20<\/h2>\nSleek art deco sculptures, models and studies by Manship (1885-1966) as well as photos by contemporary artists\u2014Barbara Bosworth, Justin Kimball, S. Billie Mandle and Abelardo Morell\u2014of the artist\u2019s summer house and studio in Gloucester, which is beginning to host artists-in-residence.<\/p>\n
\n<\/a>Ethan Murrow, “Ledgers of Hine,” 2018, graphite on paper.<\/figcaption><\/figure>\n\u201cEthan Murrow: Hauling\u201d<\/a> at Currier Museum of Art, Manchester, New Hampshire, opens Sept. 15<\/h2>\nThe Boston artist, best known for his monumental drawings like one he drew on the wall of the lobby at Boston\u2019s Institute of Contemporary Art in 2016, will draw a mural in the museum \u201cinspired by the history of the Manchester region and its people, emphasizing labor and collaboration.\u201d<\/p>\n
\n<\/a>John Singer Sargent, “Mrs. Fiske Warren (Gretchen Osgood) and Her Daughter Rachel,” 1903, oil on canvas. (Courtesy Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n\u201cClose Up: Sargent on Location: Gardner\u2019s First Artist-in-Residence\u201d<\/a> at Gardner Museum, Boston, Sept. 19 to Jan. 14<\/h2>\nIn the winter of 1903, shortly after the Gardner Museum first opened to the public, the dashing society portraitist John Singer Sargent used the museum\u2019s Gothic Room as his studio to paint one of Gardner\u2019s dear friends, Gretchen Osgood Warren, and her daughter Rachel. This exhibition returns the painting\u2014now in the collection of Boston\u2019s Museum of Fine Arts\u2014to the room where it was painted and tells its story with archival material.<\/p>\n
\n
<\/a>\u201cThe Very Hungry Caterpillar Turns 50\u201d<\/a> at Eric Carle Museum, Amherst, Massachusetts, Sept. 8 to March 24<\/h2>\nPublished in 1969, Carle\u2019s iconic children\u2019s book continues to delight, while also being a landmark example of turning a book into an interactive object.<\/p>\n
\n<\/a>Louisa Davis Minot (1788-1858), “Niagara Falls,” 1818, oil on canvas. (Courtesy Worcester Art Museum)<\/figcaption><\/figure>\n\u201cThe Poetry of Nature: Hudson River School Landscapes from the New-York Historical Society\u201d<\/a> at Worcester Art Museum, Worcester, Sept. 8 to Nov. 25<\/h2>\nA survey of 40 landscape paintings from 1818 to 1886 by artists who became known as the Hudson River School for their romantic artistic explorations of upstate New York and the wilds of New England, artworks that both celebrated the expanding colonization of the Northeast and ached with nostalgia for an imagined pure, wild place they feared had gone by.<\/p>\n
\n<\/a>Paul Manship, “Diana,” casting 1925, bronze on marble base. (Courtesy Addison Gallery of American Art)<\/figcaption><\/figure>\n\u201cFrom Starfield to MARS: Paul Manship and His Artistic Legacy\u201d<\/a> at Addison Gallery, Andover, Massachusetts, Sept. 15 to Jan. 20<\/h2>\nSleek art deco sculptures, models and studies by Manship (1885-1966) as well as photos by contemporary artists\u2014Barbara Bosworth, Justin Kimball, S. Billie Mandle and Abelardo Morell\u2014of the artist\u2019s summer house and studio in Gloucester, which is beginning to host artists-in-residence.<\/p>\n
\n<\/a>Ethan Murrow, “Ledgers of Hine,” 2018, graphite on paper.<\/figcaption><\/figure>\n\u201cEthan Murrow: Hauling\u201d<\/a> at Currier Museum of Art, Manchester, New Hampshire, opens Sept. 15<\/h2>\nThe Boston artist, best known for his monumental drawings like one he drew on the wall of the lobby at Boston\u2019s Institute of Contemporary Art in 2016, will draw a mural in the museum \u201cinspired by the history of the Manchester region and its people, emphasizing labor and collaboration.\u201d<\/p>\n
\n<\/a>John Singer Sargent, “Mrs. Fiske Warren (Gretchen Osgood) and Her Daughter Rachel,” 1903, oil on canvas. (Courtesy Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n\u201cClose Up: Sargent on Location: Gardner\u2019s First Artist-in-Residence\u201d<\/a> at Gardner Museum, Boston, Sept. 19 to Jan. 14<\/h2>\nIn the winter of 1903, shortly after the Gardner Museum first opened to the public, the dashing society portraitist John Singer Sargent used the museum\u2019s Gothic Room as his studio to paint one of Gardner\u2019s dear friends, Gretchen Osgood Warren, and her daughter Rachel. This exhibition returns the painting\u2014now in the collection of Boston\u2019s Museum of Fine Arts\u2014to the room where it was painted and tells its story with archival material.<\/p>\n
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<\/a>\u201cThe Poetry of Nature: Hudson River School Landscapes from the New-York Historical Society\u201d<\/a> at Worcester Art Museum, Worcester, Sept. 8 to Nov. 25<\/h2>\nA survey of 40 landscape paintings from 1818 to 1886 by artists who became known as the Hudson River School for their romantic artistic explorations of upstate New York and the wilds of New England, artworks that both celebrated the expanding colonization of the Northeast and ached with nostalgia for an imagined pure, wild place they feared had gone by.<\/p>\n
\n<\/a>Paul Manship, “Diana,” casting 1925, bronze on marble base. (Courtesy Addison Gallery of American Art)<\/figcaption><\/figure>\n\u201cFrom Starfield to MARS: Paul Manship and His Artistic Legacy\u201d<\/a> at Addison Gallery, Andover, Massachusetts, Sept. 15 to Jan. 20<\/h2>\nSleek art deco sculptures, models and studies by Manship (1885-1966) as well as photos by contemporary artists\u2014Barbara Bosworth, Justin Kimball, S. Billie Mandle and Abelardo Morell\u2014of the artist\u2019s summer house and studio in Gloucester, which is beginning to host artists-in-residence.<\/p>\n
\n<\/a>Ethan Murrow, “Ledgers of Hine,” 2018, graphite on paper.<\/figcaption><\/figure>\n\u201cEthan Murrow: Hauling\u201d<\/a> at Currier Museum of Art, Manchester, New Hampshire, opens Sept. 15<\/h2>\nThe Boston artist, best known for his monumental drawings like one he drew on the wall of the lobby at Boston\u2019s Institute of Contemporary Art in 2016, will draw a mural in the museum \u201cinspired by the history of the Manchester region and its people, emphasizing labor and collaboration.\u201d<\/p>\n
\n<\/a>John Singer Sargent, “Mrs. Fiske Warren (Gretchen Osgood) and Her Daughter Rachel,” 1903, oil on canvas. (Courtesy Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n\u201cClose Up: Sargent on Location: Gardner\u2019s First Artist-in-Residence\u201d<\/a> at Gardner Museum, Boston, Sept. 19 to Jan. 14<\/h2>\nIn the winter of 1903, shortly after the Gardner Museum first opened to the public, the dashing society portraitist John Singer Sargent used the museum\u2019s Gothic Room as his studio to paint one of Gardner\u2019s dear friends, Gretchen Osgood Warren, and her daughter Rachel. This exhibition returns the painting\u2014now in the collection of Boston\u2019s Museum of Fine Arts\u2014to the room where it was painted and tells its story with archival material.<\/p>\n
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<\/a>\u201cFrom Starfield to MARS: Paul Manship and His Artistic Legacy\u201d<\/a> at Addison Gallery, Andover, Massachusetts, Sept. 15 to Jan. 20<\/h2>\nSleek art deco sculptures, models and studies by Manship (1885-1966) as well as photos by contemporary artists\u2014Barbara Bosworth, Justin Kimball, S. Billie Mandle and Abelardo Morell\u2014of the artist\u2019s summer house and studio in Gloucester, which is beginning to host artists-in-residence.<\/p>\n
\n<\/a>Ethan Murrow, “Ledgers of Hine,” 2018, graphite on paper.<\/figcaption><\/figure>\n\u201cEthan Murrow: Hauling\u201d<\/a> at Currier Museum of Art, Manchester, New Hampshire, opens Sept. 15<\/h2>\nThe Boston artist, best known for his monumental drawings like one he drew on the wall of the lobby at Boston\u2019s Institute of Contemporary Art in 2016, will draw a mural in the museum \u201cinspired by the history of the Manchester region and its people, emphasizing labor and collaboration.\u201d<\/p>\n
\n<\/a>John Singer Sargent, “Mrs. Fiske Warren (Gretchen Osgood) and Her Daughter Rachel,” 1903, oil on canvas. (Courtesy Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n\u201cClose Up: Sargent on Location: Gardner\u2019s First Artist-in-Residence\u201d<\/a> at Gardner Museum, Boston, Sept. 19 to Jan. 14<\/h2>\nIn the winter of 1903, shortly after the Gardner Museum first opened to the public, the dashing society portraitist John Singer Sargent used the museum\u2019s Gothic Room as his studio to paint one of Gardner\u2019s dear friends, Gretchen Osgood Warren, and her daughter Rachel. This exhibition returns the painting\u2014now in the collection of Boston\u2019s Museum of Fine Arts\u2014to the room where it was painted and tells its story with archival material.<\/p>\n
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<\/a>\u201cEthan Murrow: Hauling\u201d<\/a> at Currier Museum of Art, Manchester, New Hampshire, opens Sept. 15<\/h2>\nThe Boston artist, best known for his monumental drawings like one he drew on the wall of the lobby at Boston\u2019s Institute of Contemporary Art in 2016, will draw a mural in the museum \u201cinspired by the history of the Manchester region and its people, emphasizing labor and collaboration.\u201d<\/p>\n
\n<\/a>John Singer Sargent, “Mrs. Fiske Warren (Gretchen Osgood) and Her Daughter Rachel,” 1903, oil on canvas. (Courtesy Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n\u201cClose Up: Sargent on Location: Gardner\u2019s First Artist-in-Residence\u201d<\/a> at Gardner Museum, Boston, Sept. 19 to Jan. 14<\/h2>\nIn the winter of 1903, shortly after the Gardner Museum first opened to the public, the dashing society portraitist John Singer Sargent used the museum\u2019s Gothic Room as his studio to paint one of Gardner\u2019s dear friends, Gretchen Osgood Warren, and her daughter Rachel. This exhibition returns the painting\u2014now in the collection of Boston\u2019s Museum of Fine Arts\u2014to the room where it was painted and tells its story with archival material.<\/p>\n
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