Within the realm of artistic genres, the area of sculpture has perhaps become the most elastic in definition. Installation is sculpture. Performance is sculpture. Assemblage is sculpture. For many the word still evokes the traditional figurative carvings of Michelangelo or the rounded bronze castings of Henry Moore, but ultimately the term is endlessly pliable. For New York-based artist Arlene Shechet, sculpture is about action as well as form, about painterly experimentation as well as material. Her abstract, textural work is on view now at the Institute of Contemporary Art in a comprehensive retrospective that has introduced me to her art for the first time.
With large-scale paintings that seemingly ooze innards and self-portraits brushed with racial signifiers, Brazilian artist Adriana Varejão does not hold anything back. Her works offer a pointed commentary on contemporary race relations by referencing colorism, colonialism, co-mingled cultures, and cannibalism. The latter is the unifying theme of the artist’s first US solo exhibition, curated by Anna Stothart, though she and Varejão prefer the term “anthropophagy”- coined by Brazilian modernist poet Oswald de Andrade to describe the assimilation (“devouring”) of European culture by native Brazilians as a means of surviving during the colonial period.
Not only have the MFA’s ever-changing contemporary galleries become much more inclusive of women and people of color, but the special exhibitions have been far from safe in their choices of artist and theme- usually foregoing big names in favor of exposure for international artists who are less known in the US. They’ve had Israeli photographer Ori Gersht, experimental ceramists, Iranian women photographers, political artists from Latin America, and now, Shinique Smith, an inventive and multi-talented black artist whose works makes an impact in both scale and material. Pulling from a range of graphic references, Smith has forged a distinctive style through her incorporation of lowbrow textiles, sweeping gestures, and collage elements in a variety of works.
When I heard that one of the newer exhibits at the Institute of Contemporary Art would feature stop-motion animation, I was pretty damned excited. Basically all I ever want in any visual entertainment is stop-motion animation, for real. But that description is only scratching the surface of Nathalie Djurberg’s work, produced in conjunction with her partner, Hans Berg, a composer. Djurberg combines elements of installation, sculpture, video, and sound to create her immersive room-size works, the newest of which is titled A World of Glass. For this piece, viewers enter an enclosed dark room lined with several rows of long tables, upon which rest hosts of small translucent sculpture- resembling glass but actually rendered in polyurethane.
When I first stepped into the house in Hyde Park where Brenda Atwood Pinardi had lived the majority of her life, I was overwhelmed. Every glance revealed new impressions, of her as an artist, of her life with her husband (fellow artist and teacher Enrico Pinardi), of her interests and passions, of her tendencies as a collector, of the relationships she formed with students and colleagues. The house holds evidence of a rich and creative life, with knick-knacks and gifts and artworks and books accumulated over the course of several decades. There are shelves of vintage dolls, floor-to-ceiling framed drawings and prints, small sculptural works dotting every flat surface, and marvelously pink bathroom decor.