After the death in 1975 of the artist Roger Hilton, Jeff Lowe was driving in Cornwall, where Hilton had lived as a St. Ives artist. Lowe, who has collected the painter’s late gouaches, had been reading Hilton’s Night Letters, in which the largely bedridden artist wrote to his sleeping wife about his condition, his art,

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To look back over Garth Evans’s 50 years of art production—sculpture plus drawings and watercolors—is to pursue a will o’ the wisp always vanishing out of the corner of one’s eye. Evans has repeatedly been exclaimed and admired, but the attention has never led to real fame—which seems to be something that he regularly courts

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Forty-one-year-old, Boston-based sculptor Tory Fair likes to think of herself as a “late bloomer,” and the evolution of her artistic career is allied with her varied experiences as an athlete, environmentalist, traveler, and spiritualist dreamer.1 For her second solo show at South Boston’s LaMontagne gallery in spring 2010, Fair created three life-sized, self-portrait figures designed

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Among last season’s most haunting exhibitions, Robert Taplin’s “Everything Imagined Is Real (After Dante)” (2007–09) featured nine eerie “tableaux” enacted by small, life-like figures contained in massive wooden “shrines.” Like miniature dioramas with unstable perspectives, the equivocal “stages” were lit in various ways, their characters agile, oddly solid, simplified little ghosts, usually devoid of color

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Stately and symmetrical, the entrance to the Metropolitan Museum of Art opens into rigorously ordered spaces that guide viewers systematically along a rectilinear path. But now, and through the end of October, those visitors who make their way to the elevator that leads to the Iris and B.

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