“Pentalum” is an example of soft, temporal architecture: its geometric sculptural forms push against the boundaries of an interactive environmental art installation.
Patrick Dougherty’s Stickwork is a remarkable piece of public art.
With this one project, Boston has gone from a public art also-ran community to a serious cultural player.
In an architectural sense, the Edward M. Kennedy Institute is too quiet a visual statement.
Rejecting unadorned box-like designs, Michael Graves created with patterns, textures, decorations and color in ways large and small.
Otto Piene’s art is at once appealing, accessible, and yet somehow unworldly: joyful mystery yoked to dynamic playfulness.
At their best, the exhibitions at the restored, renovated, and expanded Cooper-Hewitt Museum explore the history and culture of design and decorative arts with transcendent panache.
Planes, Trains, and Automobiles at the MFA is a delightful exhibition dedicated to vehicular speed, mobility, style, and joy.
With grace and wit, Alexander Calder’s artwork integrated poetry and science, aesthetics and engineering.
Starchitect Renzo Piano and his team did very well given their constraints. It is damn hard to build the right frame for so much abundant beauty.