This week, we visited the DeCordova
Sculpture Park and Museum in Lincoln, MA. I arrived a few minutes earlier than
my classmates and wandered around the back of the sculpture park a little. With
Flint’s Pond as a backdrop, the sculptures almost seemed alive with the
sunlight glinting off the water, casting reflections on some pieces. Once
everyone arrived, we met Koch Curatorial Fellow Sam Adams who kindly gave the
class a tour of the New England Biennial 2019. There are a few things I enjoyed
about the tour. First, we did not see everything, leaving an excuse to visit
again. Second, Sam’s knowledge of the artists, art, and information about the
intentions of viewed works placed these pieces in context. Finally, learning about
some of the artists’ processes and lives opened the realm of possibilities for
my own creative outlets.
Work like Borthwick’s Nero’s Analogue (2018) caught my attention in
the presentation of ancient designs recreated in modern times. Anoka Faruqee
and David Driscoll’s 2019P-15 (Circle)
(2019) and two additional (Circle)
works were interesting not only in the creation process of these optical
illusionary works but also in color usage. Now, I do not know if the artists
intended an optical illusion or were going for dimensionality, however, they
achieved both.
Given my recent political bend, my
favorite works exhibited are Soleimani’s Director
of Central Intelligence Agency, United States & Iraq (2017), Minister of Petroleum, Venezuela (2017),
Minister of Defense, Saudi Arabia
(2017), and Minister of Mineral Resources
and Petroleum, Angola & Former Secretary of State, United States (2017)
jumped out to me. With a different approach, Soleimani confronts the viewer
with the ugly truths of politics and oil intertwining with power and greed.
Each work calls to mind different
ways of experiencing the art when considered in the greater context of biennial
exhibitions. While DeCordova’s regional biennial is not technically
international, the artists names and educations do stretch beyond the
stereotypical New England names and universities. Adams informed the class that
Borthwick studied art and architecture in Italy while Soleimani is the daughter
of Iranian political refugees. As only two examples of the artist background in
DeCordova’s biennial, these experiences inform the artists in creating their
works. In that sense, this exhibition is international while the artists are
New England residents.
This class trip was my first visit
to the DeCordova and will not be the last.
