IVAN GASKELL
Harvard University Department of History
PUBLICATIONS
Books
The Thyssen-Bornemisza
Collection: Seventeenth-century Dutch and Flemish Painting, London:
Sotheby’s Publications/Philip Wilson Ltd., 1990
The Language of Art History (Cambridge Studies in Philosophy and the Arts
1), Cambridge and New York: Cambridge University Press (editor, with Salim Kemal), 1991
Landscape, Natural Beauty and the Arts (Cambridge Studies in Philosophy and the Arts
2), Cambridge and New York: Cambridge University Press (editor, with Salim Kemal), 1993
Explanation and Value in the Arts (Cambridge Studies in Philosophy and the Arts
3), Cambridge and New York: Cambridge University Press (editor, with Salim Kemal), 1993
Canopy/ David Ward/ A Work for Voice and Light in Harvard
Yard: with a poem by Seamus Heaney and texts by Parveen
Adams and Ivan Gaskell, Cambridge, Mass.: Harvard University Arts Museums & The Office for the Arts, (editor and contributor) 1997
Nietzsche, Philosophy and the Arts (Cambridge Studies in Philosophy and the Arts
8) Cambridge and New York: Cambridge
University Press (editor, with Salim Kemal and Daniel W. Conway), 1998
Vermeer Studies (Studies
in the History of Art 55), Washington D.C.: National Gallery of Art, and
New Haven and London: Yale University Press (editor, with Michiel
Jonker, and author of the introduction, “Valuing
Vermeer,” and “Vermeer and the Limits of Interpretation”), 1998
Sketches in Clay for Projects by Gian
Lorenzo Bernini: Theoretical, Technical, and Case
Studies, Cambridge, Mass.: Harvard University Art Museums (editor, with
Henry Lie, and author of “An Economy of Seventeenth-Century Clay Sculptors’
Models,” and “Conclusion”), 1999
Performance and Authenticity in the Arts (Cambridge Studies in Philosophy and the Arts
9), Cambridge and New York: Cambridge University Press (editor, with Salim Kemal), 1999
Politics and Aesthetics in the Arts (Cambridge Studies in Philosophy and the Arts
10), Cambridge and New York: Cambridge University Press (editor, with Salim Kemal), 2000
Vermeer’s Wager: Speculations on Art History, Theory, and
Art Museums, London: Reaktion Books, 2000
Contributions to
books
“Tobacco, social deviance and seventeenth-century
Dutch art,” Holländische Genremalerei in
17.Jahrhundert, ed. Henning Bock and
Thomas W. Gaehtgens (Jahrbuch
preussischer Kulturbesitz, Sonderband 4), Berlin: Gebr. Mann, 1987,
pp. 117-137. Republished as “Tobacco, social deviance, and Dutch art in the
seventeenth century” in Looking at
Seventeenth-Century Dutch Art: Realism Reconsidered, ed. Wayne Franits, Cambridge: Cambridge University Press, 1997, pp.
68-77
“Spain and The Netherlands in the
seventeenth century,” Art of the Western
World, ed. Denise Hooker, London: Boxtree, 1989, pp. 244-269 (French edition:
Histoire de l’art en occident, trans.
Stan Barets, Paris: Flammarion, 1990, pp.
244-269)
“Pieter
Jansz. Saenredam and the Great Church of ’s-Hertogenbosch,” Bilder und Bildersturm im Spätmittelalter
und in der frühen Neuzeit, ed. Bob Scribner and Martin Warnke (Wolfenbütteler Forschungen 46),
Wiesbaden: O. Harrassowitz, 1990, pp. 249-261
“History of images,” New Perspectives on Historical Writing,
ed. Peter Burke, Oxford: Polity Press, 1991, pp. 168-192. Second, revised,
edition as “Visual History,” 2001, pp. 187-217
“A Seascape by Jacob van Ruisdael and its Nineteenth-Century Owners,” Shop Talk: Festschrift in Honor of Seymour Slive, ed.
Cynthia Schneider, et al., Cambridge, Mass: Harvard University Art Museums,
1995, pp. 78-83
“The Curator’s Role: A View from the
Department of Paintings and Sculpture,” James Cuno,
et al., Harvard’s Art Museums: 100 Years
of Collecting, Cambridge, Mass: Harvard University Art Museums; New York:
Abrams, 1996, pp.156-161
“Historia,
Historia del Arte y Museos. ¿Una Conversación
a Tres Bandas?,” En la Encrucijada
de la Cienzia Histórica Hoy el Auge de la Historia Cultural, ed. V. Vázquez de Prada, et al., Pamplona: Ediciones Universidad de Navarra, 1998, pp. 99-109 [Link to English version]
“The Image of Vanitas:
Efflorescence and Evanescence,” Kristen Lippencott,
with Umberto Eco, E.H. Gombrich, et al., The Story of Time, London: Merrell Holberton, 1999, pp. 186-189
Entries in A Decade of Collecting: Recent Acquisitions by the Harvard University
Art Museums, Cambridge, Mass: Harvard University Art Museums, 2000, pp.
46-50, 52
“A Variety of Objects, from Tools to
Art: A Template for Collectors,” The
International Fine Art Fair, The Seventh Regiment Armory, Park Avenue at 67th
Street, New York City, London: International Fine Art Fair Ltd., 2000, pp.
12-21
“Les
musées des beaux-arts et le beau,” L’avenir
des musées: Actes du colloque organisé au musée du Louvre, ed. Jean Galard, Paris: Réunion des Musées Nationaux, 2001, pp. 503-519 [Link to English version]
“Some Responsibilities of Art Museum
Scholars,” Artists/Intellectuals/Institutions,
University of California at Berkeley, 2002: http://www.bampfa.berkeley.edu/bca/conference.html
“Magnanimity and Paranoia in the Big
Bad Art World,” The Two Art Histories:
The Museum and the University, ed. Charles W. Haxthausen,
Williamstown, Mass: Clark Art Institute, and New Haven and London: Yale University
Press, 2002, pp. 14-24
“Recollections of Rembrandt’s Jeremiah,”
Art History, Aesthetics, Visual Studies,
ed. Michael Ann Holly and Keith Moxey, Williamstown,
Mass: Clark Art Institute, and New Haven and London: Yale University Press,
2002, pp. 175-186
“Rembrandt van Rijn
and Gerrit Dou: An Evolving Relationship?” Rethinking
Rembrandt, ed.
Alan Chong and Michael Zell,
(Fenway Court 30), Boston and Zwolle: Isabella Stewart Gardner Museum and Waanders, 2002, pp. 107-119
“Tradesmen as Scholars: Interdependencies
in the Study and Exchange of Art,” Art History and its Institutions:
Foundations of a Discipline, ed. Elizabeth Mansfield, London and New York: Routledge, 2002, pp. 146-162
“Beauty,” Critical Terms for Art
History, ed. Robert S. Nelson and Richard Shiff,
2nd edition, Chicago and London: Chicago University Press, 2003, pp.
267-280
“Sacred to Profane and Back Again,” Art
and its Publics: Museum Studies at the Millennium, ed. Andrew McClellan,
Oxford and Malden: Blackwell, 2003, pp. 149-162
“Diptychs—What’s
the Point?” Essays in Context: Unfolding
the Netherlandish Diptych, ed. John Hand and Ron Spronk, Cambridge, Mass.: Harvard University Art Museums,
and New Haven, Conn. And London: Yale University Press, 2006, pp. 201-213
“After Art, Beyond Beauty,” Inspiration and Technique: Ancient to Modern
Views on Beauty and Art, ed. John Roe and Michele Stanco,
Oxford and New York: Peter Lang, 2007, pp. 311-334
“El Ayuntamiento
de Amsterdam: ¿poder político
o poder del arte?” La Historia imaginada:
Construcciónes visuales
del pasado en la Edad Moderna, ed. Joan Lluís Palos and
Diana Carrió-Invernizzi,
Madrid: Centro de Estudios Europa
Hispánica,
2008, pp. 65-81 [Link to English version]
“Ethical Judgments in Museums,” Art
and Ethical Criticism, ed. Garry L. Hagberg,
Oxford and Malden, Mass.: Wiley-Blackwell, 2008, pp. 229-242
“Some Cherokee and Chitimacha Baskets: Problems of Interpretation,” Iconographies
Without Texts, ed. Paul Taylor (Warburg
Institute Colloquia Series 13),
Turin: Nino Aragno Editore,
2008, pp. 175-193
“Do Subaltern Artifacts Belong in Art
Museums?” (with A.W. Eaton), The Ethics of Cultural
Appropriation, ed. James O. Young and Conrad Brunk,
Oxford and Malden, Mass.: Wiley-Blackwell, 2009, pp. 235-267
“Kuba
Textiles in a Subversive Role,” Emil Bosshard, Paintings Conservator (1945-2006): Essays from
Friends and Colleagues, ed. Maria de Peverelli,
Marco Grassi, and Hans-Christoph
von Imhoff, Florence: Centro Di,
pp. 60-71
Articles in journals
“Gerrit Dou, his patrons and the art of painting,” Oxford Art Journal 5: 1, 1982, pp. 15-23
“Transformations
of Cervantes’s La Gitanilla
in Dutch art,” Journal of the Warburg and
Courtauld Institutes 45, 1982, pp. 263-270
“Vermeer,
judgment and truth,” The Burlington
Magazine 126, 1984, pp. 557-561
“Rooted
sorrows,” Creative Camera, Jan. 1989,
pp. 18-19
“Photography and art—what next?” Apollo 130, 1989, pp. 155-158
“Cambridge
Darkroom: the Chairman’s tale,” Creative
Camera Oct. 1989, p. 31 (special issue on the fifth anniversary of the
Cambridge Darkroom)
“Free
State: Ivan Gaskell in conversation with Tim Brennan,” Performance 60, spring 1990, pp. 30-35
“Contemporary
Art and the Department of Paintings & Sculpture,” Harvard University Art Museums Review 2: 2, spring 1993, p. 3
“Tiepolo in Madrid:
the Fogg’s Aeneas
sketch investigated,” Bulletin of the
Harvard University Art Museums 1: 2, 1992-93, pp. 55-70
“Writing
(and) Art History: Against Writing,” The
Art Bulletin 78, 1996, pp. 403-406
“Salim Kemal Remembered,” American Society for Aesthetics Newsletter
20: 1, 2000, pp. 4-5 (posted on Aesthetics
Online)
“The
Imperative of History: Comments on the Clark Symposium ‘Institutionalizing the
Aesthetic,’” CAI: Journal of the Clark
Art Institute 2, 2001, pp. 45-49
“Interdisciplinary
Perspectives: Harvard’s Mystery Seminar,” The Catalogue of Antiques and Fine
Art, Autumn, 2002, pp. 198-201 (posted on Antiques and
Fine Art)
“Being
True to Artists,” Journal of Aesthetics and Art Criticism 61: 1, 2003,
pp. 53-60
“Costume,
Period Rooms, and Donors: Dangerous Liaisons in the Art Museum,” The Antioch
Review 62: 4, 2004, pp. 615-623
“Interdisciplinary
Aesthetics,” American Society for Aesthetics Newsletter 25: 1, 2005, pp.
1-3
“Cézanne’s
Painted Remainder,” The Antioch Review 64: 2, 2006, pp. 248-255
“Diptychs—What’s the Point?” Journal of Aesthetics and Art
Criticism 64, 3, 2006, pp. 325-332
“Editorial: Museums—Crossing
Boundaries” (with Jeffrey Quilter), Res: Anthropology and
Aesthetics 52, 2007, pp. 5-7
“Rembrandt’s Genius, Wittgenstein’s
Warning,” Res: Anthropology and Aesthetics 52, 2007,
pp. 97-106
“The Riddle of a
Riddle,” Contemporary Aesthetics 6,
2008
http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=504
“Interdisciplinary Aesthetics,” Folly, May, 2008, pp. 3-8
http://www.follymag.com/files/FOLLY_May-08.pdf
(revised version of the article in American Society for Aesthetics
Newsletter 25: 1, 2005)
“Jesus
Christ as The Divine Mercy by Eugeniusz
Kazimirowski: The Most Influential Polish Painting of
the Twentieth Century?” Ars: Journal of the Institute of Art History of
Slovak Academy of Sciences 42, 1, 2009, pp. 81-91
Museum publications,
including exhibition catalogues
Contributions
to European Paintings 1550-1800,
exhibition catalogue, ed. D. Garstang, Colnaghi, New York, 1985, pp. 10-15
Contributions
to Collection for a King: Old Master
Paintings from the Dulwich Picture Gallery,
exhibition catalogue, ed. G. Waterfield, National
Gallery of Art, Washington D.C. & Los Angeles County Museum of Art,
1985-86, pp. 74, 106, 118
Contributions
to Gothic to Renaissance: European
Painting 1300-1600, exhibition catalogue, ed. D. Garstang,
Colnaghi, London & New York, 1988, pp. 132-137
“Intimations
of mortality” in Death (Cambridge
Darkroom and Kettle’s Yard Joint Open Exhibition), exhibition catalogue, ed. H.
Gresty and M. Lumley, 1988, pp. 3-7
Introduction
to (and editing of) Shadow of a Dream: Contemporary Photo-works from France,
exhibition catalogue (with texts by Véronique Pittolo and Alain Renaudo),
Cambridge Darkroom (and U.K. national tour), 1989
“Loss of
Eden” in Singular Visions: Recent
Landscapes by Five Artists (Andy Goldsworthy, Christopher Le Brun, Sandra Masterson, Michael Porter, Terry Shave),
exhibition catalogue, ed. C. Stracey and K. Eustace,
Mead Gallery, Warwick University, 1989, pp. 4-5 (exhibition also at Pomeroy
Purdy Gallery, London, 1990)
From Moment to Moment, a boxed set of artists’
postcards with an essay by Ivan Gaskell published to accompany a season of
time-based media events and exhibitions at the Cambridge Darkroom, May-June,
1990
Post-Morality, exhibition catalogue, Cambridge
Darkroom and Kettle’s Yard, Cambridge, 1990 (editor)
Rembrandt, his Pupils and Rivals, Dulwich Picture Gallery (gallery guide), 1990
Dutch Landscape Painting, Dulwich
Picture Gallery (gallery guide), 1990
National Gallery Master Paintings from the Collection of
Wynn Ellis of Whitstable,
exhibition catalogue, Royal Museum and Art Gallery, Canterbury and the National
Gallery, London, 1990
“Incredibility
escapes recognition: thoughts on Three Heraclitean Elements” in John Stathatos, “Three Heraclitean
Elements,” exhibition catalogue ed. C. MacDonald, Cambridge Darkroom (and
European tour), 1991
David Ward: Keepers of Light, Harvard
University Art Museums Gallery Series, no. 7, Cambridge, Mass., 1993
An Offbeat Collection of
Dutch and Flemish Paintings.
The Netherlandish Pictorial Tradition:
Representations and Iconographies, exhibition catalogue, Fogg Art Museum, Harvard University Art Museums, 1993
Contributions to From Van Dyck to Goya.
Old Master Paintings in the Carmen Thyssen-Bornemisza
Collection, exhibition catalogue, Museo de
Bellas Artes de Castellón, 2001
Contributions to Landscapes
from Brueghel to Kandinsky. The Exhibition in Honour of the Collector Baron Hans
Heinrich Thyssen-Bornemisza, exhibition
catalogue, Kunst- und Ausstellungshalle der Bundesrepubllik Deutschland, Bonn,
2001
“Museums,
Nature, and Artifice” in Nature and Nation: Vaster than Empires,
exhibition catalogue, ed. Anne Eggebert and Polly
Gould, The London Institute, London and Hastings Museum and Art Gallery, 2003,
pp. 35-44
“Ary Scheffer” in A Private
Passion: 19th-Century Paintings and Drawings from the Grenville L. Winthrop Collection, Harvard University,
exhibition catalogue, ed. Stephan Wolohojian, with
the assistance of Anna Tahinci, Musée
des Beaux-Arts, Lyons, National Gallery, London, and Metropolitan Museum of
Art, New York, 2003, pp. 302-304
Contributions
to Carmen Thyssen-Bornemisza Collection, I,
ed. Javier Arnaldo, Madrid: Museo
Thyssen-Bornemisza, 2004
“Rembrandt, Ingenuity, and Skill,” in
Rembrandt and the Aesthetics of Technique,
ed. Ivan Gaskell and William W. Robinson, Harvard
University Art Museums Gallery Series, no. 52, Cambridge, Mass, 2006
“A
Public and Patriotic Museum”: Artworks and Artifacts from the General Artemas Ward House (with Laurel Thatcher Ulrich), Harvard University Art Museums Gallery
Series, no. 53, Cambridge, Mass., 2006
“I
Have a Son to Offer”—An Online Exhibition of American Civil War Artworks in
Harvard Collections, http://www.artmuseums.harvard.edu/civilwar/, live
Nov. 30, 2007 onwards (suspended May, 2009 for website redesign)
Book and exhibition
reviews
“The
imagery of incitement” (review article), Art
History 5, 1982, pp. 366-370
“Art for
the oligarchs” (review article), Art
History 6, 1983, pp. 236-241
John
Michael Montias, Artists
and Artisans in Delft 1982 in Oxford
Art Journal 6: 1, 1983, pp. 67-68
Christopher
White, The Dutch Pictures in the Collection of Her
Majesty The Queen, 1982 in Oxford Art
Journal 6: 1, 1983, pp. 68-69
John Rowlands, Hercules Segers, 1979 in Art
International 26: 4, 1983, pp. 59-61
Michael Kitson, Rembrandt,
1982 in Art International 26: 5,
1983, pp. 87-88
“The Van Eyck Problem” (review article), Apollo 120, 1984, pp. 145-147
“Cornelis Ploos van Amstel” (review article), Print Quarterly 1, 1984, pp. 283-285
Svetlana Alpers, The Art of Describing,
1983 in Oxford Art Journal 7: 1,
1984, pp. 57-60
Alison
McNeil Kettering, The Dutch Arcadia: Pastoral Art and its
Audience in the Golden Age, 1983 in Apollo
121, 1985, pp. 356-357
Edgar
Wind, The Eloquence of Symbols: Studies
in Humanist Art, ed. Jaynie Anderson, 1983 in British Journal of Aesthetics 25, 1985,
pp. 79-81
Eric Jan Sluyter, De
“Heydensche Fabulen” in de Noordnederlandse Schilderkunst, 1985 in The Burlington Magazine 128, 1986, pp.
612-613
“The catalogue
of Dutch paintings in the National Gallery of Ireland” (review article), Irish Arts Review 3:4, 1986, pp. 56-57
Michael Baxandall, Patterns
of Intention, 1985 in British Journal
of Aesthetics 27, 1987, pp. 188-190 (with Salim Kemal)
“No easy
route to pathos: John Goto, Terezín,” Creative Camera November 1988, p.36
Simon Schama, The Embarrassment of
Riches, 1987 in The Burlington
Magazine 130, 1988, pp. 636-637
“Choice
silver: Hannah Collins at the Institute of Contemporary Arts, London,” Creative Camera March 1989, p. 36
“Flickering
flexions: Marie-Jo Lafontaine at the Fruitmarket Gallery, Edinburgh,” Creative Camera August-September 1989, pp. 58-59
Hans
Belting, The End of the History of Art?, 1987 in British Journal of Aesthetics 29, 1989, pp.
182-185
“Richard Layzell, The Revolution –You’re
In It!” (nine day performance work commissioned by
Kettle’s Yard for the 1989 Cambridge Festival), Performance 59, winter 1989-90, pp. 77-79
“Arnhem Internationaal Audio
Visual Experimenteel Festival (AVE)” (festival
review), Performance 60, spring 1990,
pp. 64-66
“Epic
intimacies: Craigie Horsfield
at the Frith Street Gallery,” Creative Camera April-May 1990, pp. 47-48
“Birmingham’s
civic pride goes Dutch” (exhibition review: Images
of a Golden Age; Dutch Seventeenth-Century Paintings, Birmingham City
Museum and Art Gallery), Apollo 131,
1990, p. 47
Eric Jan Sluijter et. al., eds., Leidse Fijnschilders: van Gerrit Dou tot Frans van Mieris de Jonge,
1630-1760, 1988 in The Burlington
Magazine 132, 1990, p. 48
“Dutch
painters of high finish” (exhibition review: De Hollandse Fijnschilders,
Rijksmuseum, Amsterdam), The Burlington
Magazine 132, 1990, pp. 228-230
“State of
the art Frans Hals”
(exhibition review: Frans Hals, Royal
Academy of Arts, London), Apollo 131,
1990, pp. 262-264
“The Real
Thing,” (exhibition review: Fake? The Art
of Deception, British Museum, London), Apollo
132, 1990, pp. 109-110
John
Michael Montias, Vermeer
and his Milieu: a Web of Social History, 1989 in The Burlington Magazine 132, 1990, pp. 724-725
“Rembrandt’s
landscape” (review of Cynthia P. Schneider, Rembrandt’s
Landscapes, 1990), Apollo 133,
1991, pp. 58-59
Alison
McNeil Kettering, Drawings from the Ter Borch Studio Estate, 1988
in The Burlington Magazine 133, 1991, p. 122
Kathleen Preciado, ed., Retaining
the Original: Multiple Originals, Copies and Reproductions, 1989 in British Journal of Aesthetics 31, 1991,
pp. 179-182
“Rembrandt’s
self portrayed?” (review of H. Perry Chapman, Rembrandt’s Self-Portraits, 1990), Apollo 133, 1991, pp. 362-363
“A tangle
of glances: Sharon Kivland in Birmingham,” Creative Camera June-July 1991, pp.
48-49
“Drawn by
Rembrandt? Reflections on exhibitions and attributions” (exhibition review: Drawings by Rembrandt and his Circle, British
Museum, London), Apollo 136, 1992,
pp. 55-56
Daniel Arasse, Vermeer:
Faith in Painting, 1994 in The Burlington
Magazine 137, 1995, p. 468
Douglas
Crimp, On The
Museum’s Ruins, 1993 (and other books on museums and collecting), The Art Bulletin 77, 1995, pp. 673-675
Christiane Hertel, Vermeer. Reception and Interpretation,
1996 in The Burlington Magazine, 140, 1998, pp.
209-210
Victor I. Stoichita, The Self-Aware Image.
An Insight into Early Modern Meta-Painting, 1997 in The Burlington Magazine 140, 1998, pp. 570-571
“Washington,
London and The Hague: Gerrit Dou,” (exhibition
review: Gerrit Dou, 1613-1675: Master Painter in the Age
of Rembrandt, National Gallery of Art, Washington, DC), The Burlington Magazine 142, 2000, pp.
533-535
E. de Jongh, Questions of
Meaning: Theme and Motif in Dutch Seventeenth-Century Painting, 2000 in The Burlington Magazine 142, 2000, p.
707
“New York
and London: Vermeer and the Delft School,” (exhibition review: Vermeer and the Delft School,
Metropolitan Museum of Art, New York, and National Gallery, London), The Burlington Magazine 143, 2001, pp.
452-455
Cynthia
Freeland, But Is It Art? An Introduction to Art Theory, 2001 in American
Society for Aesthetics Newsletter 22, 2, 2002, pp. 4-6 (posted on Aesthetics
Online)
“Anish Kapoor: Past, Present,
Future,” (exhibition review: Anish Kapoor: Past, Present, Future, Institute of
Contemporary Art, Boston), artUS 24/25, 2008, p. 26
“Shepard Fairey,”
(exhibition review: Shepard Fairey: Supply and Demand, ICA, Boston), artUS 26, 2009,
pp. 42-43
“Laylah
Ali,” (exhibition review: Laylah Ali:
Notes/Drawings/Untitled Afflictions, DeCordova
Museum and Sculpture Park, Lincoln, MA), artUS 26, 2009, p. 44
“Abelardo Morell,” (exhibition review: Abelardo Morell: Pictures in Pictures, Bonni Benrubi Gallery, New York),
artUS 26,
2009, p. 69
“The Singularity of Sculpture”
(review of Roberta Panzanelli, ed., Ephemeral Bodies, 2008, and Jacqueline
Lichtenstein, The Blind Spot, 2008), Oxford Art Journal 32, 2009, pp. 303-306
In press
“Encountering Pacific Art,” Journal of Museum Ethnography 21, 2009
David Carrier, A World Art History and its Objects, 2008 in Journal of Aesthetics and Art Criticism 68, 1, 2010
Accepted for
publication
“In Search of Christian Miraculous
Images in the Age of Mechanical Reproduction, and Beyond,” Annual Report of the Center for Evolving Humanities: Study of Cultural
Exchange (University of Tokyo) 22, 2010
“Icons of the Desert” (exhibition
review: Icons of the Desert: Early
Aboriginal Paintings from Papunya, Fowler Museum
of Cultural History, Los Angeles), artUS 27, 2010
“Acting
Out” (exhibition review: Acting Out: Social Experiments in Video, Institute of
Contemporary Art, Boston), artUS 27, 2010