A quiet and riveting work, Mona Hatoum‘s Exodus II from 2002 is a pair of suitcases joined by long strands of human hair. Hatoum’s family fled Palestine in 1948, found refuge in Lebanon, and thirty years later Hatoum was propelled into unexpected exile upon the outbreak of the Lebanese Civil War. Her work ranges from sculpture to installation to performance, thematically linked by intense emotions that cross countries and political boundaries, documenting lives torn apart.
Hatoum’s piece is a part of the powerful ICA Boston exhibit, When Home Won’t Let You Stay, which is closing soon on January 26th.
The faux fur company really, really means NEON pink. Working on seating for the KSpace lounge, details to follow for FeministFuturist!
“Fragments from a History” by Daniela Rivera, a series of doors with audio poetry, is now at Wellesley College’s Davis Museum. This installation is second in a series of annual commissions.
Rivera has fitted salvaged wooden doors of various vintages with optical lenses and speakers. The doors invite approach, in order to peer through the irresistible peepholes at the center of each. Motion sensors trigger sound: whispered incantations and interviews that are just below the threshold of hearing unless one’s face is pressed against the door.
The installation distills the artist’s own experience as an immigrant and evokes “the loss of the habitual.” Rivera says she explored “the many personal stories of immigration and the loss of familiarity of one’s environment.”
The installation’s an eight channel audio piece designed by Jenny Olivia Johnson.
Now free to watch on PBS.org or the corresponding app: Artists Flight: Eva Hesse, a documentary about this groundbreaking sculptor of the 1960s. Too long in the shadows, Eva’s work is emerging as some of the most seminal sculpture of the 20th century.
Over 50 pieces by sculptor Kiki Smith form a building-wide installation at the historic Eldridge Street Synagogue on the Lower East Side of New York. One of the first United States synagogues built by and for Ashkenazi immigrants, the structure had fallen into disrepair but is now resurrected. Smith has designed a folkloric iconography—stars, cats, wooden chairs, birds—that epitomizes the divine possibilities of the mundane.
More photos of the gorgeous window—a collaboration between Smith and architect Deborah Gans—are in this article from Hyperallergic.
Directions and history can be found at the Eldridge Street Synagogue site.
Now streaming on PBS, an interesting survey of representative sculpture and the art of the body in “How Do We Look,” part of the Civilizations series: https://www.pbs.org/video/how-do-we-look-5kwh6n/
pictured: jade Olmec figurines
State of Clay is a biannual show of Massachusetts clay artists, and I’m included this year. The show opens May 5 and the opening reception is May 6. Juror was Emily Zilber, Curator of Contemporary Decorative Arts at the Museum of Fine Arts in Boston.
I couldn’t resist reposting this article about Carol May‘s Happy Meal parody sculpture ending up in the trash. Read to the end, which has a short history of other sculptures mistaken for something that needed cleaning.
What has Maya Lin been doing lately? Among other things, re-designing a “jewel box” library complex on the historic Smith College Campus. Lin’s innovative design incorporates, among other features, a large, light-gathering prism to bring rooftop sunlight deep into the interior of the library.
While on campus, visit the College’s Museum of Art, which has a fabulous ladies room designed by Ellen Driscoll and collection highlights like this one by Betye Saar:
I’m excited to be included in the Boston Biennial 5, opening Today at Atlantic Works Studios. Closing Reception April 22nd.