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Boca Raton Museum of Art exhibits works by Arthur Carter
Arthur Carter, Octocube, 1996, Silver and copper. Courtesy of the artist.

BOCA RATON, FLA.- With an artistic practice inspired by mathematics and music, it comes as no surprise that Arthur Carter’s artworks are marked by clean lines and a sense of sophisticated grace. His dedication to balance and precision is evident in the monumental sculptures at 90 Park Avenue South and New York University’s Bobst Library near Washington Square in New York City – the works for which he is perhaps best known – and in the exhibition of his work on view at the Boca Raton Museum of Art through April 8, 2018 entitled Arthur Carter: Sculptures and Drawings.

The exhibition features a selection of Carter’s abstract sculptures and wall-mounted reliefs. Grounded in the lyrical abstraction of geometry, his work features elegant and meticulously executed squares, circles, lines, and ellipses. The precision inherent in Carter’s work reflects his lifelong interest in music, having trained as a classical pianist in his youth. He is equally fascinated with mathematics and experiments with the ancient Fibonacci sequence, the geometry of the golden ratio, and the Mobius strip. The sophistication and elegance of Carter’s work is the reflection of his analytical mind and a Constructivist and Modernist aesthetic.

This focused exhibition shows the artist’s respect for the underlying order of things. Carter’s sculptures are noteworthy for their economic use of materials, precision, and lyricism. His paintings and drawings, often studies for sculptures, reveal more of his thought process as well as another layer of his vision.

“I like to keep the slate pure and clean,” explains Carter. “My work focuses on simplifying and eliminating the excessive. The question is, how does purity of design lend itself to making a beautiful and elegant piece?”

Arthur Carter was a highly successful investment banker and business pioneer before turning to newspaper and magazine publishing in 1981. After founding and serving as publisher of The Litchfied Times and The New York Observer, and in between acquiring and serving as publisher of The Nation magazine, he began making art.

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