Lucy Dodd, “Ié,” 2019, Atlantic sea water from Cape Cod, squid ink, Agua de Florida, Wakame, spirulina, chlorella, indigo, herb water, fish silver powder, peony petal water, lapis lazuli, malachite, cavasanite, mica, cochineal, phosphorescence, hematite, selenite, tulip petal water, daffodils, peony, tyrian purple, and pigment on canvas, 182 x 384 inches, 462.3 x 975.4 cm, LD977

Lucy Dodd, “Ié,” Installation view, "Contemporary Art: Five Propositions," Museum of Fine Arts, Boston, 2019

Lucy Dodd, Museum of Fine Arts, Boston, Performance on October 25, 2019

Installation view, Lucy Dodd, “Wa Wa Fall”, 2017, Tulip leaf extract, hematite, rain water, and mixed pigments on canvas, 110 x 56 inches, 279.4 x 142.2 cm. Installed in “A boat is a floating piece of space, Toward the Horizon”, Galleria Alfonso Artiaco, Naples, Italy, 2017.

Installation view, “From Counterculture to Cyberculture,” 2017

Installation view, “From Counterculture to Cyberculture,” 2017

Sean Paul, “Doomsday Watch, 1974,” 2017, Ultraviolet-curable pigmented ink and acrylic on polyester/polymide 35 x 18 1/2 inches, 88.9 x 47 cm

Jared Madere, “To be titled (Matter Harmonic Topiary),” 2016/2017, Sand, flowers, water, broken glass, urethane pigment, glitter, wood, and dirt, 120 x 120 x 12inches (dimensions variable with each manifestation)

Jared Madere, “To be titled (Matter Harmonic Topiary),” 2016/2017, Sand, flowers, water, broken glass, urethane pigment, glitter, wood, and dirt, 120 x 120 x 12inches (dimensions variable with each manifestation)

Jared Madere, “To be titled (Matter Harmonic Topiary),” 2016/2017, Sand, flowers, water, broken glass, urethane pigment, glitter, wood, and dirt, 120 x 120 x 12inches (dimensions variable with each manifestation)

Jared Madere, “To be titled (Matter Harmonic Topiary),” 2016/2017, Sand, flowers, water, broken glass, urethane pigment, glitter, wood, and dirt, 120 x 120 x 12inches (dimensions variable with each manifestation)

Jared Madere, “To be titled (Matter Harmonic Topiary),” 2016/2017, Nail polish, glitter, ink, burns on paper, 13 x 9 inches, 33 x 22.9 cm

Bruce Conner “Christ Casting Out the Legion of Devils,” 1987/2003, Belgian jacquard tapestry, 104 x 115 inches, 264.2 x 292.1 cm

Installation view, “From Counterculture to Cyberculture,” 2017

Lucy Dodd, “Lady Long Gone,” Dye on cotton on metal chair frame, 34 x 36 x 36 inches, 86.4 x 91.4 x 91.4 cm

Installation view, “From Counterculture to Cyberculture,” 2017

Lucy Dodd, “Beyond Blind (1981 1⁄2),” 2013, Foss leaf extract, sumac extract, black lichen, yerba maté, graphite, Bub's urine, anatto, and mixed pigments on canvas, 117 x 117 inches, 297.2 x 297.2 cm

Dawn Kasper, “UH yes, UH no,” 2014/2017, Mackie active speaker, ipod shuffle, snare drum, stand, bells, incense, 36 x 16 x 16 inches, 91.4 x 40.6 x 40.6 cm

Dawn Kasper, “UH yes, UH no,” 2014/2017, Mackie active speaker, ipod shuffle, snare drum, stand, bells, incense, 36 x 16 x 16 inches, 91.4 x 40.6 x 40.6 cm

Installation view, “From Counterculture to Cyberculture,” 2017

Israel Lund, “Untitled,” 2017, Acrylic on raw canvas, 88 x 68 inches, 223.5 x 172.7 cm, IL011

Installation view, “From Counterculture to Cyberculture,” 2017

Installation view, “From Counterculture to Cyberculture,” 2017

Installation view, “From Counterculture to Cyberculture,” 2017

K.r.m. Mooney, “Joan Green, Bimetal IV,” detail, 2017, Steel conduit, linear fluorescent, polyurethane fitting, electrical splicing ribbon, fluval tank heater, cast lavender, silver, steel binding wire, 112 x 12 x 12 inches, 284.5 x 30.5 x 30.5 cm

K.r.m. Mooney, “Joan Green, Bimetal IV,” detail, 2017, Steel conduit, linear fluorescent, polyurethane fitting, electrical splicing ribbon, fluval tank heater, cast lavender, silver, steel binding wire, 112 x 12 x 12 inches, 284.5 x 30.5 x 30.5 cm

Alex Mackin Dolan, “Untitled,” 2017, Wood, synthetic polymer paint, plexiglass, archival inkjet prints, 4 x 30 3/4 x 9 inches, 10.2 x 78.1 x 22.9 cm

Installation view, “From Counterculture to Cyberculture,” 2017

Sean Paul, “Dawn, 0.053 SEC.,” 2017, Ultraviolet-curable pigmented ink and acrylic on polyester/polymide, 60 x 114 inches, 152.4 x 289.6 cm

Installation view, “From Counterculture to Cyberculture,” 2017

Trevor Paglen, “The Last Pictures (Construction of Hoover Dam; The Wow! Signal),” 2012, Two gelatin silver prints, 24 x 32 inches, 60.96 x 81.28 cm

Trevor Paglen, “The Last Pictures (Construction of Hoover Dam; The Wow! Signal),” 2012, Two gelatin silver prints, 24 x 32 inches, 60.96 x 81.28 cm

Dawn Kasper, “UH, YES UH, NO,” 2014, Oil on canvas, 127 x 103 inches, 322.6 x 261.6 cm

Installation view, “From Counterculture to Cyberculture,” 2017

Bruce Conner, “Untitled,” 1975, Oil on canvas, 20 x 20 inches, 50.8 x 50.8 cm

Bruce Conner, “Untitled,” 1975, Oil on canvas, 20 x 20 inches, 50.8 x 50.8 cm

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