Christian Boltanski’s ideas often germinate over time and address notions involving time. In 2005, he used his own heartbeat in a pitch-black void for a Paris exhibition. Heartbeats also provided a soundtrack for his recent large-scale installations in Paris, New York, and Milan and are being collected worldwide for Les Archives du Coeur (The Heart Archive), on
Yoshitomo Nara: Making Space for Misfits
Yoshitomo Nara and Takashi Murakami began to get international recognition at almost the same time, both admired for their childhood/pop culture imagery. Nara had a bit of a head start, particularly in Europe, since he was living in Germany from 1988 to 2000.
Nothing is More or Less Alive: A Conversation with Eduardo Kac
Since the early 1980s, Eduardo Kac (pronounced “Katz”) has created challenging combinations of the biological, the technological, and the linguistic, raising important questions about the cultural impact and ethical implications of biotechnologies. An innovator and pioneer of forms, he began experimenting in the pre-Web ’80s with works that used telerobotics—systems of remote communication linking software,
“Material Worlds”
Banbridge, Northern Ireland FE. McWilliam Gallery Group sculpture shows are a comparative rarity now in Ireland. This one, featuring nine artist, eight of them Irish, wasn’t remotely representative of what is happening in Irish sculpture at the moment.
Sculpture at Evergreen 6
Baltimore Johns Hopkins Evergreen Museum& Library “Simultaneous Presence,” the sixth iteration of Sculpture at Evergreen, included 10 site-specific installations. Working in dialogue with the 26-acre Garrett estate at Johns Hopkins and its rich 150-year history, participating artists have the opportunity to interact not only with natural and architectural environments, but also with diverse collections.
HarborArts
Boston Boston Harbor Shipyard Gallery Its advocates call it a gallery, but any resemblance to a standard art gallery is slim. Boston Harbor Shipyard is a gritty, working marina and shipbuilding facility, poorly suited to art viewing.
Jedediah Caesar
New York D’Amelio Terras Los Angeles-based Jedediah Caesar, in his second solo show at D’Amelio Terras, has taken a step away from projects that overtly demonstrate their “process-oriented” approach, moving simultaneously toward and away from the intellectual precision of Minimalism and the masculine romanticizations of Land Art.
Rashid Johnson
New York Salon 94 Rashid Johnson’s “Our Kind of People” presented two facing installations — Sweet Sweet Runner and Watch Out—and two competing narratives, The first story, in the Afrocentric Sweet Sweet Runner, suggested achievement, domestic order, and upward mobility.
Willard Tucker
Cleveland The Sculpture Center A tangle of camera tripods, copper rods, and jerry-rigged, crackling electrical connections presides over one side of a windowless gallery, like a lightning-blasted tree. This strange hybrid stands sentry amid rows of cotton bolls, picked at historic plantations in Tennessee and now sprouting from the ends of rusty welded steel stalks.
