In this AP TV video, Prof. Tod Machover discusses the development of his latest work, “Symphony in D,” a piece about the city of Detroit. “I really wanted it to be a portrait of the city so I invited everybody in the city, anybody who wanted to, to collaborate,” says Machover.
AP reporter Mike Householder writes about Prof. Tod Machover’s “Symphony in D,” which features the sounds of everyday Detroit. "It somehow sounds like something that could only have been done here. And that makes me really happy," says Machover.
Writing for The Boston Globe, Nancy Shohet West highlights Prof. Erik Demaine and Martin Demaine’s paper sculptures, which are on display at the Concord Center for the Visual Arts. “We started getting interested a number of years ago in curve creases and what was possible mathematically,” explains Prof. Demaine. “We started making models and then turned those into sculpture.”
The New York Times’ Zachary Woolfe writes about Prof. Tod Machover’s work “Symphony in D,” the latest in his series of city symphonies. Woolfe writes that the piece is “an explosion of energy, found sounds, live-music snippets and reminiscences featuring spoken and played interpolations from a range of Detroit artists.”
New York Times reporter Eve Kahn writes about how Jana Dambrogio, a conservator at the MIT Libraries, is researching how letter writers kept their correspondence sealed and private, a process she refers to as “letterlocking.” “This is such a brand-new field of study,” Dambrogio relates.
Architect David Adjaye has been named the recipient of the 2016 Eugene McDermott Award in the Arts at MIT, writes Mark Shanahan for The Boston Globe. The prize “includes an artist residency at MIT next spring during which Adjaye will participate in four programs open to the public.”
The Rose Kennedy Greenway Conservancy, in partnership with MIT List Visual Arts Center, announced that conceptual artist Lawrence Weiner has been commissioned to paint the Greenway’s fourth temporary mural, reports Olga Khvan for Boston Magazine. “[Weiner] is known for his typographic works, such as his 2008 ‘Dead Center’ installation at MIT,” Khvan explains.
Casey Quackenbush reviews MIT visiting artist Anicka Yi’s new olfactory exhibition ‘Aliens and Alzheimers’ for The New York Observer. "Her exhibit is supposed to challenge the way we overlook our sense of smell in favor of taste and sight," writes Quackenbush.
Boston Globe reporter Eryn Carlson writes about MIT visiting artist Anicka Yi’s exhibition, “6,070,430K of Digital Spit,” on display at the List Visual Arts Center. Yi explains that she wants the exhibit, “to be a totally encompassing experience, engaging the senses of taste, sight, smell, hearing.”
In this video, Jared Bowen reports for WGBH on a retrospective of Professor Joan Jonas’ work at the MIT List Visual Arts Center. “One only has to experience it and you get immersed in it,” says List Visual Arts Center Director Paul Ha of Jonas’ work.
Cate McQuaid of The Boston Globe reports on a new display by Czech artist Eva Kot’átková on display at the MIT List Visual Arts Center. “Her sculptures, collages, and assemblages touch a nerve, evoking the fugitive inner life of children as a threat to adults and to society,” writes McQuaid.
WGBH reporter Jared Bowen highlights the selection of Prof. Emertia Joan Jonas’ films and videos currently on display at the MIT List Visual Arts Center in his weekly roundup of recommended exhibitions, movies and musical performances. “Those of us who can’t make it to Italy can see seven of her films and videos that pushed the media forward, right in Cambridge.”
Syncopasian, a co-ed a cappella group at MIT, advanced to the final round of the new WGBH singing competition Sing That Thing! Syncopasian competed against high school, college and adult singing groups to make it to the finals, where they were crowned the college champions.
Guardian reporter Jason Farago writes about Prof. Emerita Joan Jonas’ multimedia installation at the Venice Biennale. Farago writes that Jonas’ exhibit has been “has been the hit of the Giardini,” and “that in a show with too little regard for form, her profound and affecting new work proves that politics and beauty are not at odds.”
Prof. Emerita Joan Jonas’ installation at the Venice Biennale is a “triumphal exhibition,” writes Roberta Smith for The New York Times. Smith says that Jonas’ exhibit is “one of the best solo shows to represent the United States at the biennale in over a decade — an effortless combination of maturity and freshness.”