Well the Missus and I trundled down to the Christian Science Plaza to catch Convergence, the exhibit scattered about the grounds by The Boston Sculptors Gallery, and we thought it was swell.
From the Boston Sculptors website:
In a convergence of imagination and civic pride, over two dozen art installations from Boston Sculptors Gallery members will be displayed on The Christian Science Plaza from Wednesday, May 1 to Thursday, October 31, 2013 . . . Each sculpture will speak to its architectural surroundings, activate the site that inspired it, and create a unique destination for the Boston community to see contemporary art.
Boston Globe art critic Sebastian Smee, however, didn’t initially see “imagination and civic pride” in his review:
Cooperatives, by nature, are inclusive. They’re about mutual support. So let’s briefly say at the outset what the sculptors themselves are doubtless too team-spirited to say to each other: A lot of the work in “Convergence” is dreadful. It’s thin, it’s hokey, it’s gimmicky, and, against the daunting backdrop of the Christian Science Plaza, it hasn’t a hope in hell.
Then again, Smee does eventually change his tune.
The show really climaxed, and won me over, at the Massachusetts Avenue end of the reflecting pool, with two works that take on the imposing edifices around them. One was Andy Zimmermann’s “Liminal Bloom.” The title may be hackneyed, but the work — a circle of thin, flame-like sheets of white metal with undulating edges — has an indubitable rightness.
The title may be hackneyed? I guess I’ve been neglecting to read my issues of The Liminal Gazette.
Anyway, here are some of the excellent artworks we do agree on.
Murray Dewart’s “One Bright Morning.”
“Poised” by Donna Dodson and Andy Moerlein.
George Sherwood’s “Wave Cloud.”
And our favorite, Andy Moerlein’s “Impossible,” a bunch of rocks in a couple of trees.
Trundle down there yourself, and form your own conclusions.