Browsing: Institute of Contemporary Art Boston

Reviews Nari WardSun Splashed, Listri Libreria, 2013Chromogenic color print83 7/8 x 63 inches (213 × 160 cm)Photographed by Lee JaffeCourtesy the artist and Galleria Continua, San Gimignano, Beijing, Les Moulins, and Havana© 2017NariWard
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Piecing Things Together: Nari Ward at the ICA

Walking into Nari Ward’s retrospective Sun Splashed at the ICA Boston, you are greeted with calypso music piping out of a bright yellow bodega awning that reads HAPPY SMILERS in kitschy font. Hanging bottles of colorful Tropical Fantasy fruit soda…

Feature Installation view, Liz Deschenes, Institute of Contemporary Art, Boston, 2016. Photo by John Kennard. © Liz Deschenes
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Field of Vision: Liz Deschenes at the ICA

In his quintessential text on vision, Techniques of the Observer, author and art historian Jonathan Crary notes: “The mind does not reflect truth but rather extracts it from an ongoing process involving the collision and merging of ideas.”(1) The nineteenth-century…

Feature En Ti Confio, º2 Venice International Performance Art Week, Venice Italy 2014. 

Photo by: Monika Sobczak
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2015 Foster Prize Interviews: Vela Phelan

Every two years the Institute of Contemporary Art Boston (ICA) selects up to four Boston-area artists to receive the James and Audrey Foster Prize. In addition to a cash award, finalists are given the opportunity to mount a show in…

Feature Working sketch for kijidome's Foster Prize exhibition
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2015 Foster Prize Interviews: kijidome

Every two years the Institute of Contemporary Art Boston (ICA) selects up to four Boston-area artists to receive the James and Audrey Foster Prize. In addition to a cash award, finalists are given the opportunity to mount a show in…

Magazine LaToya Ruby Frazier , U.P.M.C. Braddock Hospital and Holland Avenue Parking Lot, 2011. Silver gelatin print
48 x 60 inches
Courtesy of the artist and Galerie Michel Rein, Paris
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Review: LaToya Ruby Frazier: WITNESS

Forget objectivity; LaToya Ruby Frazier is an activist at heart. Frazier operates on the inside, and her photography cannot be adequately judged within the category of journalism. Although her photographs invite comparison to the iconic WPA photographs of Dorothea Lange…

Articles Installation view of Steve Locke: there is no one left to blame at the Institute of Contemporary Art/Boston. Photo: John Kennard.
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Queering the ICA

It’s been a long time coming, but the ICA is beginning to show its true colors. The last few years have seen solo exhibitions by a strong number of female artists, a great many queer artists and people of color,…

Magazine Williamsburg Portraits, 1991-92
Ink, gouache and pencil on paper
Set of 32: 8 x 11 inches each
Courtesy of the artist and Sikkema Jenkins & Co.
Photo: John Berens
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Amy Sillman: one lump or two

It’s hard to believe, but Amy Sillman: one lump or two, opening today at the Institute of Contemporary Art/Boston, is Sillman’s first museum survey show. Comprising over 90 of Sillman’s paintings, drawings, ‘zines and films, one lump or two resists…

Magazine Luther Price, #9 A Study in Decay, 2012, 640 handmade glass slides, 8 projectors, slides: 2 x 2 inches, projected images. 
Dimensions variable. Courtesy the artist. Photo: John Kennard.
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The Foster Prize: Luther Price

Price with #9 A Study in Decay at the Institute of Contemporary Art. Photo: John Kennard. Some of my fondest memories during my college years can be traced back to my art and architectural history courses, sitting in a…

Magazine Mark Cooper, yu yu tangerine, 2013. Wood, aluminum brackets, screws, ceramics, fiberglass, silkscreen on muslin, acrylic, watercolor, marker, rice paper monoprints, digital photographs.
Dimensions variable. Courtesy the artist. Photo: John Kennard.
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The Foster Prize: Mark Cooper

It is curious that Mark Cooper’s work, which is the most visually and spatially boisterous, the most materially lustful (though not the most fetishistic) of the four finalists’, is that which directly references Buddhist cultures, concepts and practices of…

Magazine Katarina Burin, HOTEL NORD—SUD 1932—34: Design and Correspondence, 2013, Drawings, silver gelatin prints, architectural models, objects, furniture, vinyl letters, wall paint, digital images. Dimensions variable. Courtesy the artist. Photo: John Kennard.
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The Foster Prize: Katarina Burin

At first glance, Katarina Burin’s installation in this year’s Foster Prize looks out of place within the ICA’s sterile, white gallery space.Hotel Nord-Sud 1932-34: Design and Correspondence (2013) is centered around Petra Andrejova-Molnár, a female Czechoslovakian architect active during the…

Magazine Sarah Bapst, Untitled, 2008, Plywood, cardboard. 
Courtesy the artist. Photo: John Kennard.
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The Foster Prize: Sarah Bapst

Sarah Bapst’s work is compact, unhurried, and subtle. It is the opposite of the work in the joke that named Big Red & Shiny.1 Being the quiet person in the room can be a hard road though. From the…

Articles Installation at ICA, Photo credit: Charles Mayer.
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Doris Salcedo at Harvard Art Museums

Just before her lecture last Tuesday night at Harvard Art Museum, Doris Salcedo sat in the last row of a lecture hall in Sackler, starring off into space. She seemed unaware of the burgeoning crowd, lost in thought, present in…

Magazine Craig Costello 
Twist, 1993
Digital scan from silver gelatin negative
Courtesy of the artist
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#FrameClusterFriday: Barry McGee at the ICA

When the work of a former graffiti artist enters the hallowed white box of a museum, almost inevitably there will be cries of “Judas.” Yet another in the ICA Boston’s string of exhibitions dedicated to street, or “outsider” artists, Barry…

Magazine General Idea, AIDS Wallpaper, Screen print on wallpaper, 1989

Courtesy of AA Bronson
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This Will Have Been and NYC 1993

Two of today’s more compelling shows consider work that was made or displayed for the first time at around the same point. Boston’s ICA of course has This Will Have Been: Art, Love, & Politics in the 1980s, which…

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