[vc_row][vc_column][vc_column_text] In Library of Amorphous Matter, Jocelyne Prince considers the material properties of glass, an amorphous or non-crystalline solid that is the central protagonist of a fantastical library of cracks, drips and scars. Slide Library (2002-present), exhibited in the Redwood’s Rovensky Delivery Room on custom “athenaeum-like” bookcases,...
[vc_row][vc_column][vc_column_text] Dough Fitch Then and Now: Tales from The Big Chair is an outdoor sculptural installation created by polymath Doug Fitch to counteract “presentism.” Coined by the scholar Alan Jacobs, presentism is defined as the prevailing over-emphasis on the significance of today’s lived experience and the undervaluing of...
[vc_row][vc_column][vc_column_text]Norwegian artist Per Barclay presented three bodies of work at the Redwood in the summer of 2019: a site-specific commission, Oil Room(Redwood) (2019) in Abraham Redwood’s eighteenth-century summer house; Untitled (2018), a 7-foot glass house where pumped water sloshes gently and rhythmically around the interior...
[vc_row][vc_column][vc_column_text]In a curator talk, Leora Maltz Leca discussed the Tayou's site-specific memorial for the Redwood, contextualizing his monument to global slavery in light of the larger memorial turn in contemporary art. What does this installation propose? How does it picture history? And what does it...
[vc_row][vc_column][vc_column_text]Commissioned to commemorate the gift of author and New Yorker staff writer Calvin Tomkins’ art book collection to the Redwood, this large-scale acrylic exemplifies Ruscha’s enduring exploration of the visual and connotative potential of words and phrases With words functioning as both bearers of meaning and...
[vc_row][vc_column][vc_column_text]Shara Hughes’ Summer House was conceived and created by the artist specifically for the Redwood's eighteenth-century octagonal “folly" in summer 2017. Curated by Dodie Kazanjian, with whom the artist has worked extensively, Kazanjian describes how: "It cannot be entered, but only viewed by one person...
[vc_row][vc_column][vc_column_text]Hung up high up in the Harrison Room of the Redwood, in a surprising confrontation with the early American portraits of white men, George Condo's painting of a nude woman, Shades of Madness, addressed the library's readers through the summer of 2017. The portrait was...
[vc_row][vc_column][vc_column_text]For over a decade, Boston artist Kevin Dacey has been photographing cultural spaces such as museums and libraries, creating liquidy surfaces of reflection that dissolve the boundaries between outside and in: between nature and culture, between reality and its multiple refractions. Launching the artist’s yearlong...