New York

Athena Tacha

Max Hutchinson

In this exhibition Athena Tacha chose to show projects for public places, some of them memorials to major atrocities of this century. All are ambitious proposals that exploit Tacha’s interest in cascades, steps, and inclines, and in the rhythms these forms activate. While Tacha does not stretch her ideas about form in these projects, she makes an earnest and significant effort to combine iconography with kinesthetic patterns in the search for a contemporary memorial that concurrently honors, mourns, and informs through direct confrontation and involvement. She is seeking a monumental idiom that engages the public, not through awe and objective distancing, but through an active discourse with and exploration of a particular form and the feelings it engenders. Tacha is not absolutely successful in this complex task, but the synthesis she is trying to formulate holds remarkable potential. In

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