Kurt Perschke's RedBall Project

'Perschke's uncanny ability to conceive a tight and tense fit for RedBall, the contrast between the bright red sphere and the white Meier facade, with its perky geometry and pretensions to modernist rationalism, gave RedBall a particular humor. I personally felt a sort of spoof was at hand.'

'One of the best things about RedBall Project is that it's really very funny. The absurdity of this balloon-at-large makes you smile. It also brings, like all good sculpture, a compulsion to reach out and touch.'

'He exemplifies a generation that neither subscribes to the Modernist, formalist notion of redesigning, aesthicizing, beautifying, nor to the Postmodernist confrontation of injustices paved over and social needs abandoned. Aware of both, he maintains a flexible position. For artist such as Perschke, the possibilities for public art are open and multiple, unlimited as an engagement of sites and people-in-place.'

'He draws upon the already rich and full context of the city in which the ball is sited, not remolding it, but rather interacting and playing with it. In our experience of this work we find the spaces of the city and, in the tradition of Duchamp, we play a role.'

'The temporary has the potential to afford public participation in its making of during its life. So, RedBall lives in all its conceived or carried-out musings on lace, in all the impossible places it occupied but could not remain. Whereas for the Kapoor (sculpture in Millennium Park) great lengths were taken at great expense to achieve the near impossible, RedBall breathes because of its temporality. RedBall invokes impermanence in its constant mutability and migration.'