The exhibition features a selection of art from the collection of Bill and Christy Gautreaux, who, for the last 25 years, have embarked on what Bill calls “a journey of learning and awareness that has been life-altering.” Artists who are women, Black or people of color, and those working internationally and/or are part of the diaspora are the primary focus of their collection. Above all, the artists here express hope, courage, resilience, and determination in the service of a better future. These artists celebrate their heritage by reclaiming ownership of and pride in their cultural origins. Some artists draw from the traditions of their cultural heritage-African, American, Caribbean, Indian, Iranian, Iraqi, and Native American. Artists investigate the global inequity of wealth and power, social justice, race, slavery, colonialism, the experience of exile and the diaspora, identity, the important role of the body, LGBTQ+ issues, popular culture, the precarious balance between progress and technology, climate change, and the environment. Ĭreated over the past 12 years, the works in Life Altering: Selections from a Kansas City Collection explore a rich array of meaning relevant to our present time. Firelei Báez’s Collector of Shouts (April 21) 2016. But it was a joy to revisit so much great, groundbreaking music.Janu| Boston, MA – Boston University Art Galleries (BUAG) presents the exhibition Life Altering: Selections from a Kansas City Collection, on view from January 18 through March 1, 2022, at Boston University’s Faye G., Jo, and James Stone Gallery. Getting our list down to 80 was a real struggle (sorry, Dire Straits’ Making Movies and George Benson’s Give Me the Night). July 18th was an especially rough day for mopey punk fans, who were forced to choose between Echo and the Bunnymen’s Crocodiles (Number 72) and Joy Division’s Closer (Number 10), and headbangers had it rough on April 14th, the release day for Iron Maiden’s self-titled debut (Number 41) as well as Judas Priest’s British Steel (Number 18). This kind of consumer crisis came up all the time in 1980. If you walked into a record store on October 8th, and you only had enough cash for one record, you were really in a bind, because Prince’s Dirty Mind (Number Three) and Talking Heads’ Remain in Light (Number Four) both came out that very same day.
What came out of it all this was, arguably, the greatest year for great albums ever.
Meanwhile, the classic artists who’d defined rock, country, and R&B were going strong, either by responding to the changes around them (Pete Townshend, Genesis), sticking to their guns (Van Morrison, Neil Young), or getting even weirder than they were in the Seventies (Bob Dylan). Metal was getting meaner, faster, and sharper. Every style of music was fragmenting and evolving in ways that would’ve been hard to imagine just a couple of years earlier, especially punk and New Wave, which were mutating into synth-pop, post-punk, goth, the New Romantic movement, the two-tone ska revival, the very beginnings of indie rock, and more. It’s fitting that the Clash’s London Calling, which is ranked Number One on our list of the best albums of 1980, came out in January of that year, and if you listen to the records that follow it on the list, there’s a palpable sense of clearing away the past to invent the future.
In terms of music, the new decade kicked off like someone had fired a starter’s pistol. It was the end- the end of the Seventies - and everyone was more than a little antsy to get going on whatever was about to come next.
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