In just a couple of weeks, Sanford Biggers’ show The Cartographer’s Conundrum will be at MASS MoCA. With another exciting installation about to take place in our giant Building 5 gallery, we thought we’d take a look back at some of the shows that have graced this enormous space in the past.

1999-2000: The 1/4 Mile or 2 Furlong Piece

In 1999, Robert Rauschenberg’s extensive work was our first major exhibit in the space. This self-contained collage-like retrospective of mixed media also served as the setting for MASS MoCA’s grand opening gala.

2001-2003: 14 Stations

In 2001, Robert Wilson’s sculptural installation 14 Stations filled the space. It was a seminal interpretation of the Via Crucis or “Way of the Cross”- referring to the moments of passion Christ experienced en route to crucifixion. Visitors could peer into each structure to experience the different scenes and figures along the way.

2004-2005: Inopportune

A few years later, nine exploding cars took over the 300 foot long gallery, suspended from the ceiling with multicolored rods shooting in all directions. This dramatic stop-motion moment served as the centerpiece for Chinese artist Cai Guo-Qiang’s show Inopportune.

2007-2008: Projections

In 2007, Jenny Holzer transformed the space with large-scale projections of selected poetry by Wislawa Szymborska. Coupled with giant bean bags scattered throughout the room, visitors were invited to sit back and absorb the surreal landscape and accompanying messages.

2008-2009: The Nanjing Particles

In 2008, English conceptual artist Simon Starling animated the huge exhibition space with large sculptural forms derived from microscopic particles.

2009-2010: Gravity is a Force to be Reckoned With

A year later, Iñigo Manglano-Ovalle explored the failings of Modernism with his upside-down glass house. The exhibit was based on Mies van der Rohe’s uncompleted project The House With Four Columns (1951), a square structure open to view on all four sides through glass walls. Everything hung in suspension and a phone rang off the hook.

Up next…. Stay tuned for Sanford Biggers’ show, opening on February 4, 2012!

Here’s to many more amazing shows in the future!

As the 2011/2012 performing arts administration intern, a position that is grant-funded by the Tin Man Fund, I get to curate my very own show… and I can’t believe how quickly the date is approaching! When I started my job at MASS MoCA seven months ago, I had no idea how much work (and joy!) would go into booking, planning, and finally bringing the stunning modern-Irish steppers of Darrah Carr Dance to the museum:

1. RESEARCH: Before I could book a performing artist, I needed to figure out what my interests were. What was I passionate about? What did I want to see more of in the Berkshires? As a recent grad of Connecticut College (go camels!) with a double major in Human Development and Dance, I immediately knew that I wanted to bring accessible and innovative modern dance to MASS MoCA. My Human Development interest in communities and education also fueled my desire to curate dance that could interact with the public, possibly through a workshop of some kind. I spent a few days in NYC visiting our performing arts curatorial team and researching dance companies that appealed to my interests and to MASS MoCA’s audience. In the end, I decided on Darrah Carr Dance – Darrah blends traditional Irish step dancing with modern dance vocabulary and techniques, and also has a developed educational outreach program, so she was a perfect fit.

2. MAKING THE DEAL: Next, I reached out to Darrah, to see if she wanted to partner with MASS MoCA – she did! I drafted an offer letter outlining the basics such as show date, compensation, and travel arrangements for Darrah, the curatorial team, and my cool boss Sue (Manager of Performing Arts + Film) to sign… and voila! We were set to do a show together. That meant that Darrah and I had lots and lots of questions for each other. I wanted to know about which dance pieces she might bring, who her audience was, and the specifics of her community programs. She wanted to learn about the size of the performance space, our tech capabilities, and if our hotel served continental breakfast! Darrah and I were (and still are) in constant phone and email contact to iron out all of the details that go into producing a show. We eventually both signed a much more in-depth contract together, so that all the details we discussed on the phone and via email are put into one organized document.

3. SPREADING THE WORD: I was excited about the performance, Darrah was excited about the performance, so then it was time to get everyone else excited about the performance! Under the guidance of Katherine, our amazing Director of Marketing, we started spreading the news about Darrah’s performance. Our talented graphic designers printed beautiful posters, the super marketing intern Cora put up flyers all over the Berkshires, and Keifer down in the Box Office enthusiastically plugged the show to all incoming patrons. We also created advertised on many types of social media, contacted local professors of dance or Irish culture, reached out to Irish dance academies all over New England, and asked a few newspaper and radio stations to give us a shout-out. Getting butts in seats is important for obvious reasons (we want MASS MoCA to always have the funds to showcase inspiring performances in the future!), but it’s also important because Darrah and I want to share our passion for dance with as many friends as possible. 

4. BEHIND THE SCENES: I can’t even express how much  backstage work went into producing this performing arts show! First, there were a billion technical aspects that need to be prepared; luckily I had the hilarious duo of Eric and Eric, who keep the Production department running smoothly, to help me through it. Together we decided on a seating set-up, a one-of-a-kind stage plot, ad-hoc wing space, necessary lighting and sound equipment… the list goes on and on. With Meg (Company Manager and, more importantly, my MASS MoCA Mom), I arranged all the artist services components of the show. I booked hotel reservations, organized meal plans, and prepared the dressing rooms. I also organized ushers, planned house management, and wrote the program with the help of Court, who coordinates volunteers and coordinates front of house during performances.

CURTAIN CALL: And now, finally (finally!), the show is looming only a few days in the distance – soon, Darrah Carr Dance will be at MASS MoCA in the flesh (the shuffle-ball-changing, pirouetting, flying leaping dancing flesh)! I’ll have a busy day helping Darrah and her dancers with their arrival, community dance workshop, tech and dress rehearsals, and the evening performance, and I absolutely can’t wait. Curating my own show was a huge undertaking that opened my eyes to just how much effort and how many people it takes to produce a performance. I am so, so thankful for all the generous, cooperative, wacky-wise-wonderful friends who helped me pull this off. Darrah, Sue, Katherine, Keifer, Eric & Eric, Meg, Court, and everyone else who was involved: you guys are the bee’s knees.

Come see what we’ve all been working so hard on – Darrah Carr Dance at MASS MoCA on Saturday, January 21 (free workshop at 2:00 pm/ticketed performance at 8:00 pm)! Call the Box Office at 413.664.4481 for more information.

See you there! Love, Emily

Fun was had by all at Kidspace’s Merpeople-making session on December 29.   Here some of the participants display their mermaids and mer-gents.  James Grashow’s spectacular cardboard mermaid (shown above with her school of friends) and Aurora Robson’s recycled plastic bottles were the inspiration for the art project.  Photos of some of the participants with their creations follow.

Disney recycles, just probably not in the way you are thinking!  They may recycle old bottles and newspapers, however they definitely recycle animation.  Artist Oliver Laric points this out in his documentary Versions, featured in our Memery exhibit.  Take a couple of deep breaths before watching because the evidence may taint your image of the “Wonderful World of Disney� (:45-2min):

Versions highlights the widespread re-usage of images throughout the history of art, so don’t worry, Disney isn’t only at fault.  However, Laric emphasizes how such recycling of images is iconoclastic in that the art that was once unique loses much of its significance as it is re-mediated.  These Disney segments are shocking because their originality and individual magic has been undermined, essentially leaving them simply as versions of one another, hence the title of the documentary.

Though Disney is not the only one reusing images and animation, it is quite rampant through their history.  Here are some other examples of Disney’s recycling habits.

Guilty:  Robin Hood, Aristocats, Snow White, Sleeping Beauty, Beauty and the Beast, the list goes on and on and this vid exposes them all!

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One of the most fascinating aspects of a Sol LeWitt Wall Drawing is that it can never be the same from one exhibit to another.

Every time a Wall Drawing is put on display, a group of draftsmen paint or draw a new interpretation of the piece.  In following Conceptual Art, when the idea behind the art takes precedence over the actual piece of artwork, LeWitt writes a set of directions of how to create each piece of artwork.  The directions drive the art process.

Before creating the new piece, wherever the Wall Drawing is currently located must be painted over so it no longer exists in that setting.  Even if MASS MoCA wanted to relocate one of our Wall Drawings, the artwork cannot be moved, it must be repainted in the new space.

Only one official interpretation of a Wall Drawing can exist at one time; once the previous one has been painted over, the draftsmen are free to start their work.  The draftsmen then use LeWitt’s directions to create their interpretation.  However, every draftsman and every space is different, meaning that each time a Sol LeWitt is put on display, it is inherently unique.

Check out how varied, and at times similar, Sol LeWitt Wall Drawings can be even when they are rooted in the same directions!

Wall Drawing 146A at MASS MoCA.  The “A” in 146A refers to the original (146) being white wall with blue crayon and this piece having blue walls with white crayon.

146 at the Guggenheim in NYC in 1972.
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Every museum has a well-kept secret.  Whether it’s a stolen sketch, a haunted hallway, or a hidden painting tucked beneath another print, such covert wonders are proudly guarded as they help form each cultural hub’s individuality.  Today we reveal one of our favorite secrets—Phyllis Criddle.  You may not have heard of her (yet) because we have been keeping her all to ourselves.

Though only 23, she’s worked at MASS MoCA for 7 years, more than half the life of the museum! Starting as a member of the Art Fab crew, she went from working with hardware to working at Hardware, the MASS MoCA Store, where she is now the assistant manager.  Phyllis does more than run the store.  She has created a custom line of MASS MoCA clothing and accessories, embodying the museum’s mission of catalyzing new, bold art, which includes her famed Wilco dress (seen above, modeled on Phyllis).

Her first MASS MoCA creation was a dress crafted from the museum’s logo-splashed t-shirts.  Completely hand-sewn and definitely one-of-a-kind, the dress was rumored to be purchased by one of the creators of the video game phenomenon Rock Band.  His wife even appeared at MASS MoCA this past summer, wearing the dress to the Bang on a Can Festival.  Phyllis also was commissioned to create Katharina Grosse inspired tablecloths, which were draped over every table at the museum’s 2011 Benefit in New York.

The buzz around Phyllis has recently grown ever since she debuted her Wilco fashion line, created out of hundreds of wristbands from the Solid Sound Festival held at MASS MoCA.

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