From our review of the “2001 Foster Prize” exhibit at Boston’s Institute of Contemporary Art:
When I roam Boston galleries or stumble upon Brandon Nastanski’s “Unofficial Franklin Park Research Outpost,” I feel the buzz of potential. And when I see things like the awesome and witty Museum of Bad Art, I’m reminded that there are unique, trendsetting organizations in our midst. But a show like the Institute of Contemporary Art’s Foster Prize round-up of “Boston-area artists of exceptional promise” breaks my heart. It can make you suspect that deep down you hate Boston art, when in reality the problem isn’t you, it’s the ICA.
Too often, when local art professionals get involved, the wildcat excitement gets ironed out and combed over and turned into a yawn. Too often, this is the face such exhibits promote. You might as well take out an ad in the New York Times saying, “Boston art is dull. For your own safety, stay far away.”
Read the rest here.
“2010 Foster Prize,” Institute of Contemporary Art, 100 Northern Ave., Boston, to Jan. 17, 2011.
Yokelist Manifesto Number 1: Boston lacks alternative spaces?
Yokelism at the 2008 Boston Art Awards.
Yokelist Manifesto Number 2: Montreal case study.
Yokelist Manifesto Number 3: Hire locally.
Yokelist Manifesto Number 4: We need coverage of our living artists.
Yokelist Manifesto Number 5: We need local retrospectives.
Yokelism update: Coverage of our living artists: Sebastian Smee responds.
Yokelism update: Dangers of Provincialism.
Yokelism update: Re: Dangers of Provincialism.
Yokelist Manifesto Number 6: Could the CIA help?
Yokelism at the 2009 New England Art Awards.
Re: “Yokelism with your wallet out.”
Globe: The revolution begins with Harvard – a Yokelist response.
Yokelist questions Globe diss of Boston.
Pictured above: Amie Siegel, “Black Moon,” 2010.
Robert de Saint Phalle, Installation view from background to foreground: “Dress Rehearsal,” 2010, back-painted glass, powder coated steel, modified ICA bench, still from Niki de Saint Phalle’s film “Daddy” on printed fabric; and “Double Handling,” 2010, aluminum, steel, enamel, projected still from Niki de Saint Phalle’s film “Daddy” on printed backdrop.
Fred H.C. Liang, installation view of “Untitled (Nushu),” 2010, Baltic plywood table, paper accordion book, 42 x 20 x 42 in.; book: 18 x 19 x 5 in., reaches 10ft. high; “Dream of a Thousand Springs,” 2010, Paper cutout with drawing and screenprinting, 10 x 16 ft.; “Hardy Impatiens,” 2010, two half benches, Baltic plywood, 38 x 20 x 18 in.; and “Untitled (The Gift),” 2010, plywood box, paper cutout from Tuan Zhi paper, 12 x 12 x 12 in.