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artscope magazine: March/April 2014
WELCOME STATEMENT: Brian Goslow, managing editor
RENEWAL
GLOBAL ENCOUNTERS IN EARLY AMERICA
YOU ARE HERE
PEDAL TO THE METAL
CULTURE CLUB
CATENARIA
A SHARED VISION:
UNCOVERED MEMORIES
SURVEILLANCE SOCIETY
TANJA SOFTIC: MIGRANT UNIVERSE
SEEING DOUBLE
WE THE PEOPLE
OUTSKIRTS
CAMERALESS IMAGES
LIBRARY
SOPHISTICATED PERSPECTIVES
MEMORIES:
ARLENE SHECHET
KEEPING UP WITH ACTORS’ SHAKESPEARE PROJECT
GETTING SCHOOLED
ARTLIFTING
NEW LONDON: DIVERSE, UP-AND-COMING SEASIDE ENCLAVE
Capsule Previews
CATENARIA
James Foritano


LESLEY UNIVERSITY

VANDERNOOT GALLERY

UNIVERSITY HALL

1815 MASSACHUSETTS AVENUE

CAMBRIDGE, MASSACHUSETTS

THROUGH MARCH 14



DOUG BOSCH THROWS US A CURVE



Catenaries have been around long before Webster’s Third New International Dictionary defined them as “The curve formed by a perfectly flexible inextensible cord of uniform density and cross-section hanging freely from two fixed points.”



Catenaries existed even before Galileo misidentified a catenary as a parabola and was then berated by his contemporaries with mathematical formulae that proved the famous astronomer so very wrong.



The Spanish architect Gaudí used catenary curves, reversed, as arches in a much-photographed corridor of his Casa Milá in Barcelona.

Going Gaudí one better, Eero Saarinen used a reversed catenary to frame the view westward from downtown St. Louis, and for good measure he installed tramcars inside so tourists could ride to the top of his “Gateway Arch” and attempt a glimpse of California.


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