Lynne Marsh, Barbara and Art Culver Center for the Arts

Over the considerable course of her career, Canadian artist Lynne Marsh, who is still largely unknown in the United States, has produced just a few projects, all highly ambitious and meticulously realized. Four of these were included in “Who Raised It Up So Many Times,” a tightly executed survey of Marsh’s work, curated by Kimberli Meyer. Everything in this presentation seems to converge around a complex meditation on the nature—or, perhaps better, the character—of our gestures, especially those that we consider to be the most spontaneous, expressive, and free but that on second pass disclose a distinctly preprogrammed, machinic element. More specifically, the actions that concern the artist are those that arise at the seam of art and technology, namely, a space that could be the source for all our behaviors, as Marsh’s art proceeds to make evident: first by tracing quasi-empirically the various lines of exchange that occur between these two aforementioned realms, and second by recomposing them, with no small measure of playful irony, into new forms.