previews

  • Petah Coyne, Untitled #1240 (Black Cloud), 2007–2008, taxidermy birds, silk flowers, silk/rayon velvet, plaster statuary, feathers, wax, cables, cable nuts, paint, plaster, metal, felt, pearl-headed hat pins, pigment, thread, wood, vinyl, dimensions variable.

    Petah Coyne, Untitled #1240 (Black Cloud), 2007–2008, taxidermy birds, silk flowers, silk/rayon velvet, plaster statuary, feathers, wax, cables, cable nuts, paint, plaster, metal, felt, pearl-headed hat pins, pigment, thread, wood, vinyl, dimensions variable.

    Petah Coyne: Everthing That Rises Must Converge

    Massachusetts Museum of Contemporary Art (MASS MoCA)
    87 Marshall Street
    May 29, 2010–May 1, 2011

    Curated by Denise Markonish

    It seems only appropriate that Petah Coyne’s latest exhibition, “Everything That Rises Must Converge,” takes its title from a Flannery O’Connor short story collection. Coyne’s brooding sculptures, filled with allusions to death and disaster, have always been in dialogue with literature; an overlap with the southern gothic is readily apparent. The show features a selection of Coyne’s work from the past two decades in MASS MoCA’s triple-height gallery space, from dripped-wax chandeliers to blurred photographs of children and monks. Two large sculptures will showcase her new materials—expect taxidermy among the velvet, candles, and birdcages. An accompanying catalogue, with contributions from A. M. Homes, Rebecca Solnit, and the curator, offers a further opportunity to consider the writerly aspects of Coyne’s flamboyantly intricate gloom.