Logocentric Playground; 2006; blackboard paint; chalk, pastel, pencil on three birch panels; approximate dimensions: H48"xW252" Participatory installation at American University Museum at Katzen Arts Center, Washington, DC.
Logocentric Playground: The Subject; 2006; blackboard paint; chalk, pastel, pencil on birch panel; H48"xW69" (View on Nov. 13, first day of installation.)
Logocentric Playground: The Subject; 2006; blackboard paint; chalk, pastel, pencil on birch panel; H48"xW69" (Beginning of public interaction: “Where’s the beef…”)
Logocentric Playground: A Sign; 2006; blackboard paint; chalk, pastel, pencil on birch panel; H48"xW69" (Museum visitor interacts with installation.)
Logocentric Playground: The Collection; 2006; blackboard paint; chalk, pastel, pencil on birch panel; H48"xW69"
Logocentric Playground: A Sign; 2006; blackboard paint; chalk, pastel, pencil on birch panel; H48"xW69"
Song for Europe: De Magistro (Latin); blackboard paint, pastel, pencil on MDF; H31"xW48" (diptych) Participatory installation at The Athenaeum in Alexandria, Virginia.
MCB creates A Postmodern Meditation on the Five Proofs of God: Quinque viae (Proof 1) with art students from Catholic University of America directly upon a wall in Salve Regina Gallery; November 2010.
Gallery visitor interacts with Quinque viae (Proof 1) during opening reception in Salve Regina Gallery; November 2010.
Gallery visitors interact with Quinque viae (Proof 3) during opening reception in Salve Regina Gallery; November 2010.
Quinque viae (Proof 4); acrylic, blackboard paint, mirror, pastel, pencil; H24”xW48”; 2010.
Gallery visitor interacts with Quinque viae (Proof 4) during opening reception in Salve Regina Gallery; November 2010.
Quinque Viae: Proof 5 (membrana), 2010, acrylic with ink marker on layered Plexiglas, H30xW30”
Gallery visitor interacts with Quinque viae (Proof 5) during opening reception in Salve Regina Gallery; November 2010.
Gallery visitor interacts with Welcome, reader! during opening reception for “Postconceptualism: The Malleable Object” that Boyd curated for University of Maryland’s Stamp Gallery; 2011.
Face Values opening at Studio 1469, Washington, DC; pens, photographs, post-it notes; dimensions variable, 2013. “A participatory art event organized by Boyd in collaboration with Corcoran College of Art students from his “Art as Social Practice” course. Students photographed random people in urban environments & at the event the participant subjects & the public may post comments on the photographs & what they suggest or reveal about the person. The event seeks to initiate conversations about social identity, stereotypes, the way we present ourselves & how others see us.”
Participatory Installation: Reflections On Diversity; blackboard paint, chalk, pastels, pencil on birch; diptych: H48”xW144”; 2016 (Collection of S. Fitzgerald Haney; San Jose, Costa Rica)