Mass MoCA

Mass MoCA in North Adams is one of the largest centers for contemporary visual and performing arts in the US. It is located in a converted factory building, which offers huge display spaces. We went primarily to see the "Oh, Canada" and "Invisible Cities" shows. Fortunately, a tour of all the galleries was beginning as we arrived. It was nice to get an overview of the space and introductions to pieces in each gallery. The most interesting installation was the Sol Lewitt retrospective. Please visit this site to understand the magnitude and importance of this show. 65 artists and students spent 6 months installing the work which will be on display for 25 years. Lewitt had gifted his work to Yale University late in his life. Yale, realizing their space limitations, sought out a loan agreement with Mass MoCA, and LeWitt agreed. He visited and collaborated on the placement and configuration of the spaces prior to his death. My House Critic and I debated the universal and eternal question, "is that art?"  The debate was not over the finished work, but over the fact that one purchases the LeWitt diagram and instructions, not the mural. It does blur that line between design and fine art.  But isn't all art blurry these days. And it is far from unusual for a noted artist to have studio assistants apply paint to surface.  What we are unclear on is the extent of detail in LeWitt's design.  Did he dictate the color mixture, the exact size of each line?  

Of the two other shows, I liked The Mountain by Graeme Patterson in the Oh, Canada show.  My best description is "art within art within art".  If you've ever read The Mouse and His Child by Russell Hoban, you will recall a passage where the Mouse and his child are stuck in the bottom of a river.  They can't move; all Mouse can do for days is stare at an empty dog food can in front of him.  The label on the can pictures a dog holding the same can with the same label.  This image repeats itself ad infinitum.  All the Mouse can do is try to find the last image of the dog holding the dog food can. Everything in The Mountain relates to everything else. Patterson describes it as the first of four installations that focus on his personal experience with male bonding.  It is very witty.  
Coming in as close second favorite was the entire Invisible Cities show, particularly Melting Pot by Miha Strukelj.  The concept is inspired by Italo Calvino's novel of the same name in which imaginary conversations take place between Marco Polo and Kubla Khan.  Polo describes his voyages and the cities to Khan.

One note.  I noticed that a lot of the sculpture was formed with found materials, mostly manufactured.  For example, Patterson used white sheets, afghans to represent snow atop his mountain. I was so happy to have finally seen some contemporary art that can be visually exciting, provoking, evoking and accessible without extensive reading and probing to understand the artists' intents.  

Harrison Gallery and The Clark

Meadow Path by John Macdonald

The Harrison Gallery specializes in contemporary American artists, with a focus on landscapes.The Harrison's featured artists were John MacDonald's paintings and Paul Caponigro's photographs. MacDonald's work, pictured above, was of landscapes in and around Williamstown.  The quality of the paints is almost encaustic in appearance.  I couldn't decide if that was a mixing choice or a medium effect until reading the artist's statement.  He's a plein air painter interested in light and texture.  The work is loose and expressive and clearly captures the local landscape.  It evokes a bit of Edward Hopper for me.


The Clark is a very interesting place.  It  houses the private collection of the Clarks, (he, grandson of Singer Sewing Machine founder) and has a mission to dedicated to research and extending and advancing the public understanding of art.  The holdings are extensive, museum quality and quantity. This trip was a bit disappointing because the original building is under renovation and the current show is recent archaeological discoveries of northern China.  I admit this lack of interest is due to my complete ignorance of Chinese art, religion, culture, etc, etc.  I did enjoy a couple of the sculptures. Zhenmushou (Tomb Guardian Beasts) from the Tang dynasty.  The expressions and the melding of beasts/humans was captivating.  And the Warrior Guardian from the Qi dynasty because of his posturing amused me greatly.  

 ZhenmushouWarrior Guardian

Wit Gallery

According to their web site, "An acronym for "Wonders In Time" The Wit Gallery focuses on art that brings a feeling of warmth and hospitality which transcends time.  While the works intrigue me, I don't trust them.  There is too much commercialism, too much "oh, isn't that neat, cute, pretty, unusual".  While quite skillful and polished, the works seem to be contrived and made for Architectural Digest.  Somehow, the artist's hand has disappeared.  It's almost as if Pier One Imports showed up.  And for some inexplicable reason, to me it smacks of California art.  

The above painting by Suzanne Howes-Stevens is an example of the gallery works.  It is oil over a collaged map which locates the painting's site. The painting is framed by and bleeds into the map.  While the idea of using the map to restate the idea of landscape is interesting, the very formal and clean use of it defies nature (IMHO).   Also, every painting of Howes-Stevens looks more or less like the one above.  She's found her schtick and she schticking with it.  

Summer Reading

Summer Reading, Oil on Board, 28.5" x 20.5" is showing at the Judith Klein Gallery in New Bedford, MA Art of Summer 2012 show which benefits the New Bedford Women's Shelter.  Both subject and color are more illustrative than my usual oeuvre.  This was to appeal to the theme of the show.  The point of view is from our upper deck, across the flower boxes to the pool.  
I will be out of the studio for the next 10 days while I visit galleries and museums in western Massachusetts.  However, I will post my insights.

Minkcove Sunrises

The sun rising over Minkcove created a beautiful orange aura.

Rudbeckia

The painting is finished and installed at Rogers Gallery. I discovered a way to address the flatness of some areas without varnishing. It's referred to as "oiling out", and simply means applying an oil medium to the dried surface. When done, the painting again appears to have a uniformity of richness and saturation.

Rudbeckia, Etc

I notice that I have not posted in some time. However, I have been working daily. The weather has been abominable, English wet and dark. It's difficult to see well and I find my self unsatisfied with work viewed the following day. Mostly, I've been attacking the yellow rudbeckia. Yellow is such a difficult fellow. It's not so much the values as the transparency. There is hardly any coverage initially. I've also been experimenting with glazes in these two small landscapes (8x13"). I've learned techniques immediately and prefer this to using the gold leaf.