In recent years several serious artists, Amanda Parer among them, have created giant inflatable pieces with the aim of making cultural/political statements.
The Theodore Baird House is a special place; the only Frank Lloyd Wright structure in Massachusetts.
M.I.T.’s Sean Collier Memorial does not make a full-bodied artistic statement — it does not elicit a strongly felt aesthetic or visceral reaction.
“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.