Legal contracts, artists relationships with science, Boston's slow march into "the Modern" era, as well as "the capitalist, linear escapism… of the Western Psyche" are just a few of the topics covered in Issue #127. I'd like to say there was an intentional theme we editors conceived for this particular collection of works, but mostly it was contributors pitching stories about what they wanted to write about.
Generally speaking, BRS does not delve into thematic issues, but I remain amused when threads of each story overlap in subtle, but meaningful ways. If #127 has anything in common it is the different ways artists today are striving for relevancy. It could be argued the place to look is not inside the traditional trajectory of art, but how that tradition can coexist within another. Carey Young combines her interest in conceptual art practices from the 70s with dry corporate and constitutional law – creating a dynamic place to contemplate the value of art. Meanwhile Liz Lerman and Xavier Le Roy's recent visit to Boston is chronicled, highlighting each artist's particular relationship and engagement with science. On the other side of this dialog, is the location in which new forms of art will ultimately reside.
Reminding readers of Boston's provincial history, Kurt Cole Eidsvig looks at the ICA's exhibition of recently collected work titled In the Making. Rounding out the issue is Steve Aishman's subtle plea for new art heroes. Perhaps the best place to look is outside the tradition of art.
Image courtesy of Wiki Commons.
