• Lucy McKenzie, The Integrity Gap, 2003, wall painting, posters, and photocopies. Installation view, NAK, Aachen.

    Lucy McKenzie

    ICA - Institute of Contemporary Art, Boston
    25 Harbor Shore Drive
    September 22, 2004–January 2, 2005

    Many of Lucy McKenzie’s activities—like Flourish Nights, informal events organized at her collective studio in Glasgow—center on collaborative practices. But the Scottish artist also teams up to work on her own installations, curatorial probings, and site-specific projects (in locations as diverse as the Sunday Herald Magazine or the shipyard in Gdansk). Referencing such sources as the 1980 Moscow Olympics, handmade East German Depeche Mode concert flyers, and fascist and socialist mural paintings, McKenzie’s paintings, drawings, and installations always engage visual manifestations of political culture, intertwining the personal and the social. This show, McKenzie’s first in a US museum, consists of new works specifically produced for the ICA.

  • Cerith Wyn Evans, Transmission (John Cage), 2003, Noguchi paper lampshade, flat screen monitor, Morse code unit, computer, dimensions vary.

    Cerith Wyn Evans

    Museum of Fine Arts, Boston
    465 Huntington Avenue
    October 6–January 30, 2005

    “I’m interested in evoking polyphony, superimposition, layers, levels, the occluded and the visibility of the mask,” remarks Cerith Wyn Evans on his commitment to an uncommonly erudite artistic practice. A former assistant to director Derek Jarman, Wyn Evans completed several experimental films before returning to sculpture in the ’90s. Employing fireworks, mirrors, and neon—and notably commissioning a remake of Brion Gysin’s “Dreamachine”—he investigates the phenomenology of language and perception with a romantic touch. Wyn Evans has achieved recognition in Europe and Japan but is rarely seen in the US. This first American museum survey features about fifteen objects and installations and a new project to be shown concurrently at the MIT List Visual Arts Center.