If you happen to be one of the many people who decry abstract art to be nothing more than blobs of paint haphazardly splattered on canvas, then the Morton Fine Art Gallery’s newest exhibit, Fragmentation and Integration, probably isn’t for you. If you have an appreciation for the form or a mind open to exploring new mediums, however, the exhibit offers a thought provoking experience for both art-enthusiasts and newcomers alike, largely due to its laid-back environment and the relative accessibility of some of the works.
The Senate has finally confirmed John Brennan as the director of the Central Intelligence Agency, yet controversy over the Obama administration’s drone program still lingers. The criticism came to a... Read more
With a number of low-fi surf-inspired bands releasing music lately it’s easy for some of them to get lost in the mix—especially since they all seem compelled to choose names involving the ocean, beach, or other trite references to surfing or the coast. With their second album Clash the Truth, Brooklyn rockers Beach Fossils don’t do much to distinguish themselves in this somewhat crowded field, as the band fails at achieving any musical growth while losing some of the charm from their first record. The end result is an album that while certainly solid lacks enough vitality or innovation to make it particularly memorable.
Whether describing joblessness, discrimination, or even just problems with the old lady, the blues have long been a means of dealing with tragedy. It’s only natural, then, that Otis Taylor uses the blues to tell the story of another group with a history of hardship: Native Americans.