is a writer and curator based in Williamstown, Massachusetts.
Cameron Rowland's exhibition, D37, is bookended by two slowly searing works that rewrite how we look at art and public policy. Using artwork budgets and legal research, Rowland reveals the city of Los Angeles's role in the violent displacement of the poor and people of color.
Founders John and Dominique de Menil built the collection on a belief that art could be something both sacred and modern, linking viewers to cultures across time by means of an inherent, shared poetry of form. So when the Menil announced a six month renovation in February to completely reconfigure and reinstall the galleries, displaying works that have never been exhibited, I was excited.
Depending on who you ask, when the sun goes down, it's time to head home or hit the streets. The nighttime is for resting up for tomorrow, seeing a loved one, working late or dancing until daybreak. It's also for delinquents to slink around casing a joint, and for bigots to hide as they carry out hate crimes.
Vincent Fecteau’s sculptures feel intimate but conflicted. Elegant in form but grimy in finish, his painted papier-mâché sculptures and photographic collage creations are painstakingly handmade—obvious in their materiality yet cagey in their references.