Press Release


The Institute of Contemporary Art/Boston announces new exhibition of work by the
2013 James and Audrey Foster Prize finalists
Sarah Bapst, Katarina Burin, Mark Cooper and Luther Price to unveil work at the ICA May 1
(BOSTON—April 9, 2013) The Institute of Contemporary Art/Boston announces a new exhibition of work by the 2013 James and Audrey Foster Prize finalists. Opening May 1, finalists Sarah Bapst, Katarina Burin, Mark Cooper, and Luther Price will present work from a variety of media—drawings, photographs, sculptures and film projections. Sarah Bapst's sculptures and works on paper explore form and content through the deconstruction and reconstruction of engineered devices. Katarina Burin's drawings, installations, and collages are influenced by the documentation of historical architecture and design. Mark Cooper's paintings and sculptures use fiberglass, rice paper, paint, silkscreen, images, and patterns that explore the shared forms found in nature and culture. Luther Price, known for his work as a filmmaker, creates handmade slides using found footage and raw materials he manipulates and reassembles in a study of death and decay. The winner will be selected by a jury—consisting of Mark Dion, artist; Paul Ha, director of MIT List Visual Arts Center, Cambridge, MA; and Ali Subotnick, curator at the Hammer Museum, Los Angeles, CA—and will be announced in May 2013. The exhibition will be on view at the ICA through July 14.
“The James and Audrey Foster Prize exhibition brings the strength and talent of Boston-area artists to the ICA and to our public,” said Jill Medvedow, Ellen Matilda Poss Director. “It allows us to spotlight the artistic energy in the city and experience major works by four compelling artists in our community.”
“Although their styles differ from one another, they share a common interest in architecture and building, the handmade and the mechanically produced, and the role art plays in shaping and reimaging the world around us,” said Helen Molesworth, Barbara Lee Chief Curator.
Sarah Bapst is a sculptor whose work focusses on industrially-produced objects and meticulous observation of their construction. Using an air conditioner as her muse, Bapst creates a series of sculptural renditions of the engineered device, closely examining its construction. After disassembling the device, Bapst begins the painstaking process of reconstructing it from scratch. Halting the process once she veers off course, the artist then begins again with a new sculpture; resulting in several iterations of the same object in various states of reassembly. Her work is as much about the practice of looking, thinking, and trying as it is about the sculptures themselves.
Katarina Burin’s work is based on a fictional character, Petra Andrejova-Molnár, a Czechoslovakian architect working in Europe in the years between World War I and World War II. Burin creates this imaginary identity by producing a fictitious museum installation of Andrejova-Molnár’s drawings, architectural models, exhibition catalogues and photographs. Her work highlights a pivotal moment within 20th century architecture—the design of radically new structures intended to promote modern ideas. Burin’s work demonstrates an interest in architecture and design and how they connect with the history and politics of the interwar era.
Mark Cooper’s recent work is concerned with the relationship between objects and the myriad perspectives audiences bring with them when encountering a work of art. His sculptures are comprised of large, wooden constructions whose nebulous shapes take the form of chains of DNA, the human body, and other organic matter. Applying ceramic vessels, photographs from the artist’s travels to India and China, and paintings on rice paper to the sculptures, his works are infused with cultural references to the places he has traveled to and that have inspired him.
Luther Price’s work manipulates and distorts discarded scraps of cut footage as well as found footage from other sources to study the process of death and decay. Much like a scientist with a microscope, Price enhances his images through a projector and looking closely at objects that go unseen by the naked eye—hair, insects, and dust—permitting a reevaluation of conventional ideas about beauty.
First established in 1999, the James and Audrey Foster Prize (formerly the ICA Artist Prize) is a biennial award established as a key initiative to nurture and recognize Boston-area artists of exceptional promise. The exhibition creates a significant opportunity for locally-based artists to share their work with a large public audience, and offers a financial award of $25,000 to the winner.
Profiles of the 2013 Foster Prize Finalists
Sarah Bapst’s work has been included in numerous group exhibitions, including Selections 10, Bakalar Gallery at the Massachusetts College of Art and Design, Boston; Out of the Blue at the Attleboro Arts Museum, Attleboro, Massachusetts; and Marks, Target Gallery at the Torpedo Factory, Alexandria, Virginia. Awards include a Painting Fellowship from the Artists’ Foundation of Massachusetts, and a Visual Arts Fellowship for Works on Paper from the National Endowment for the Arts. Bapst received an M.F.A. from Cranbrook Academy of Art and a B.A. from Indiana University. She teaches at Massachusetts College of Art and Design.
Katarina Burin co-organized a show and series of events marking the 50th anniversary of the Carpenter Center at Harvard University, where she is currently Visiting Lecturer in Visual and Environmental Studies. Burin’s work has been the subject of solo exhibitions at Andreas Grimm Galerie, New York and Munich; Lucile Corty, Paris; Clockwork, Berlin; Country Club, Cincinnati; and Form/Content, London. She has participated in group exhibitions at White Columns, New York; Participant Inc, New York; Künstlerhaus Palais Thurn and Taxis, Bregenz; Galerie Max Hetzler, Berlin; and Gerhardsen Gerner, Berlin. Burin received her M.F.A. from Yale University and her B.F.A. from University of Georgia.
Mark Cooper is known for his large public art pieces, made in collaboration with children, hospital patients, students, and other constituencies, for such institutions as the Museum of Fine Arts Boston, Boston College Museum, Capital Children's Museum and Corcoran Museum in Washington, DC, DeCordova Museum and Sculpture Grounds, and the Whitney Museum of American Art at Philip Morris. He has received equal attention for his solo gallery and Museum exhibitions including his recent More Is More exhibition at Samson Gallery in Boston. Mark Cooper has received numerous grants and fellowships including an Open Society Institute Fellowship and Mass. Cultural Council Fellowships in Sculpture and in Crafts. He received his M.F.A. from Tufts University/School of the Museum of Fine Arts (SMFA), and is currently an Adjunct Professor at Boston College, as well as a Graduate and Regular Faculty at the SMFA. Cooper's work is in several major museums, as well as corporate and private collections.
Luther Price studied Sculpture and Media/Performing Arts at the Massachusetts College of Art and Design, where he currently teaches. Known for his work as a filmmaker, Price also makes handmade slides out of found footage that he cuts up, reassembles, combines, and otherwise alters. He often presses other things between the two glass plates of the slides, projecting ants, dirt, and adhesive materials onto the gallery wall. Like his work with Super-8 and 16 mm film, these slides are studies of a dying technology, pushing and exploring the qualities of light projected through and onto a variety of materials. Price’s work is currently on view in the exhibition Second Nature: Abstract Photography Then and Now at the DeCordova Sculpture Park and Museum in Lincoln, Massachusetts (through April 21, 2013). His work was selected for the 2012 Whitney Biennial at the Whitney Museum of American Art, New York, and has also been presented at the Museum of Modern Art, New York, the San Francisco Cinematheque, and the Institute of Contemporary Arts, London, among other institutions.
The exhibition and prize are generously endowed by James and Audrey Foster.

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