Newly Available Offices for Rent on the MASS MoCA Complex


MASS MoCA has spacious, individual offices for rent: $300 a month, includes utilities. Desks and chairs are available, lots of light and great views, as well as a large common area with a kitchen. Additionally, there is free parking, flexible lease terms, a restaurant and café on campus, and a short walk to Main Street in North Adams.

And of course, all the perks of getting to be on the MASS MoCA complex!

For more information, visit:

Posted May 20, 2013 by MASS MoCA
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Background Story: Xu Bing’s Phoenix

Photo: Jane Burns

Photo: Jane Burns

“The light box is called the ‘Background Story,’ and once patrons and the public understand the back story in terms of the works’ original creation in China and then our efforts in bringing them to the United States and displaying them at MASS MoCA, I think that makes it all the more amazing.” –Richard Criddle

Richard Criddle, MASS MoCA Director of Fabrication and Art Installation, calls the feat of installing Xu Bing: Phoenix “one of the biggest, most ambitious things that we’ve ever done at MASS MoCA.” It’s impossible to look at Xu Bing’s art without wondering what superhuman forces could lift two 12-ton phoenixes and suspend them in midair, assemble thousands of cigarettes into the shape of a tiger-skin rug, and turn plants and shadows into a Chinese landscape “painting.” (“Because I have a voice out of Harry Potter, sometimes they also expect me to have a magic wand,” Criddle says.) Here, he describes the shipment and installation of Xu Bing’s amazing phoenixes.

Rickmers Dalian_SM

Slow boat from China

It’s often said that the art was transported via “the slow boat from China.” The shipping company had a website where we could track its progress. (It rather reminded me of going back to England. On the plane, whenever I go back, it always seems to take forever for that little plane on the video screen on the seat in front to get anywhere near the old country.) We were patiently keeping an eye on where the boat was. It chugged slowly across the Pacific, and then it came down through the Panama Canal and into the Gulf of Mexico. It first docked at Corpus Christi in Texas. Then it had to chug around the peninsula of Florida and up the East Coast.

Photo credit: Dante Birch

Photo: Dante Birch

The boat ultimately arrived in Philadelphia. It docked there because the crates into which the phoenixes were packed do not conform to containerized standard dimensions. There are very few ports left in the country that can deal with non-containerized sea cargo. Those crates then had to clear customs. MASS MoCA employed a shipping broker to expedite that process. We also hired a trucking company based in New Jersey, which seemed to take its time making its way to MASS MoCA. (I put that as politely as I can.) When something like that—on top of shipping issues and even weather issues—is outside of your control, the frustration really builds up. Once we finally got the art here and started to wrangle with the various components, it was incredibly hard work and a challenge and a test, but that was welcomed after a protracted period of frustration.

Photo credit: Dante Birch

Photo: Dante Birch

Making an entrance

When the trucks did arrive on site, we had to negotiate the back gate and then get them over the steel bridge and into Courtyard D. Once in the courtyard, two fork trucks would come in from either side at the center of these huge crates and lift them up in the air, and then the truck would drive out from underneath. We would then lower the crates back down to the ground and, with those same fork trucks, maneuver them to be aligned with our big cargo door, which is on the second floor. That door is about 12 feet high and just under 24 feet wide. Just about all of these crates had to come longways into the building; because the smallest of them were about 30 feet long, they couldn’t fit sideways. We engaged a crane operator and a professional crew of riggers. (They’re the people who give directions to the crane operator and make sure that all of the slings and lifting equipment are securely and properly attached to the crates.)

Photo credit: Dante Birch

Photo: Dante Birch

The crates were lifted up, and swung, and pushed into the building. They were then placed onto dollies. (We actually killed a lot of our furniture dollies. They were flattened by the weight. I need to replace some wheels.) The crates are big plywood boxes that are reinforced with bolted and welded channel iron around them. If it weren’t for that iron superstructure around the crates, they’d basically fall apart. Inside of the crates are a whole variety of different forms of jigs and structures that hold the various components of the phoenixes in position. They filled up Building 5 fast. You think, It’s two stories high and the size of an American football field, but it fills up quickly when a “small” crate is 32 feet long and 5 feet wide and 4 feet high. The crates were then pushed and maneuvered around the room, often using the fork lift trucks that we had up in the gallery. We took the forks off of the fork trucks and brought them up in the elevator. (Those fork trucks are carefully selected to be within the elevator’s weight capacity.)  In that particular gallery, because it has a concrete floor, we could buzz around all over the place. Just like any other project, moving the first couple of crates around was sort of a rehearsal, getting the hang of it. We really got quite nifty at moving things around as time went on.

Photo credit: Jane Burns

Photo: Jane Burns

Two of these enormous crates containing tail sections only arrived at 8 o’clock the morning before the exhibition opened, and they still had to be craned into the building and then unpacked. Some of these crates, to purely pluck the lid off, require two chain falls to be put up into the ceiling.  (Chain falls are ratchet-operated chain hoists.) Think of the crates as enormous shoeboxes; to take the lid off of a 32-foot-long shoebox, you have to have two chain falls up in the air to lift the lid off, and then you need to move the crate out from underneath the lifted lid in order to get what’s inside.

We had to buy chain falls in bulk. It’s quite strange, really, because for previous exhibitions and installations here, we’ve gotten by with four chain falls that I use over and over again. All of a sudden I’m buying ten times that many: 40 chain falls for a single job. It seemed quite bizarre. Most of them are one-ton chain falls that we bought especially for this project, but we also utilized three or four heavier-grade chain falls that support the main body sections because one ton wasn’t enough. Take, for instance, the body of a phoenix that’s made from a salvaged cement mixing drum; a one-ton chain fall wouldn’t pick that up, so we had to use a three- or four-ton chain fall. The phoenixes are now supported from the ceiling by 43 chain falls.

There are currently 43 pieces of walled, 21-foot-long, 3/16th of an inch thick square, steel tubing up in the ceiling above the beams that makes a sort of grid supporting the phoenixes. We basically took the rigging diagrams from China that we were supplied with, laid the points out on the floor, and then used a laser plumb bob to project those points up onto the ceiling. We hung all of the rigging points prior to the phoenixes’ arrival, working with a consulting engineer to make sure the loads were properly dispersed and that we remained within the building’s structural capacities. We had plenty of time to get this right because we were standing around waiting for trucks, so we did a tremendous amount of advance preparation. All of those rigging points were checked by MASS MoCA’s structural engineer, so we were about as ready as possible when they finally got here, but then it was a bit of a mad dash and a scramble until the end.

Following directions

Every instruction, in terms of the assembly of the phoenixes, was given by Xu Bing’s brother who had put the pieces together before. His instructions were in Chinese, which were translated into English by Xu Bing’s assistant and translator, Jesse Coffino. That indirect communication added another dimension of time to everything. In the heat of the moment, while carrying out complicated rigging operations, it was often quite hard to understand exactly what was required. My Chinese is nonexistent, and we were all under a lot of pressure to try and get the job done. If you just think of what a gargantuan project it is, and you add all of those aspects that I’ve explained were outside of our control, and then you add a further layer of complexity in terms of just understanding one another, once you’ve grasped all that, it’s really more remarkable.

Photo credit: Jane Burns

Photo: Jane Burns

Taking flight

The major bolting was done in midair. We would lift the pieces up into position, and then one or two scissor lifts would drive into position. Guys in the scissor lifts would have the appropriate wrenches and bolts. The steel and nylon fabric tail sections of the phoenix were bolted on the ground prior to raising them up in the air. Bolting the tail sections was one of the final steps to completing the phoenixes. I’m really glad we stopped with an easy part. (Compared to a lot of what we did on this project, that was definitely in the easy category.) The tails are probably 35 feet long by the time they’re assembled. Some tail pieces are not that heavy and can be picked up by four or five people and moved around manually. Some of the other tail sections that are made out of a whole variety of found objects and fabricated steel needed to be picked up with chain falls or moved with a fork truck. Also, all of the LED lights that illuminate the phoenixes had to be plugged in sequentially. I’m absolutely amazed that the LED lights work, and that they survived all of the handling, engineering, and transport. They all plug in, and we managed to get it lit up like Christmas just before Christmas.

Photo credit: Jane Burns

Photo: Jane Burns

We opened the entire show at 2:00pm on December 22, the day after the final tail sections arrived. We came back to work on Christmas Eve to move out the remaining crates and get them into storage. We just about finished it by Christmas. I’d call that making it by the skin of your teeth.

Photo credit: Keifer Gammel

Photo: Keifer Gammel



 Text transcribed and edited by Maro Elliott, MASS MoCA Development Assistant

Posted April 2, 2013 by MASS MoCA
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Make Money While They Sleep

SS Crowd 

MASS MoCA Urges Locals to Rent Spare Rooms During Solid Sound Festival

    (North Adams, Mass.)  — With the closest and most convenient accommodations approaching full capacity for the MASS MoCA/Wilco Solid Sound Festival on the weekend of June 21-23, MASS MoCA is urging those who wish to rent rooms (especially those in convenient proximity to the museum) to pre-register with the listing service  The listing service specializes in short-term house, apartment, and “spare room” rentals.

“This is an opportunity for locals to pick up a little extra spending money, or for local churches, youth groups, and other civic organizations to utilize their members’ homes as a way of raising funds,” said Jodi Joseph, MASS MoCA spokesperson.  The process is simple.  Register on-line at through a questionnaire, detailing your lodging accommodations.  Be specific and provide photos when possible.  Joseph continues, “As our regional motels, inns, and campsites begin to fill up in the coming weeks and months, we will soon be pointing Solid Sound patrons to as a convenient, centralized way to find alternative lodging within our region.  Rooms within easy walking, biking or driving distance to MASS MoCA will no doubt be extremely popular.”

Because it takes a few days to get listed and approved on,  museum officials urge those who are interested to start now, so your listing will appear when the Solid Sound website begins directing potential festival-goers  to the website.   There is no fee for your listing; however, AirBnB (not MASS MoCA or Wilco) collects a small percentage of the rental fee for processing the transaction, should your room, house, or apartment be rented.

Joseph Thompson, MASS MoCA’s Director, added, “Obviously this is a way for our neighbors with extra room in their houses and apartments to reap a little direct economic dividend from the Solid Sound weekend, but it will also help keep more of our Solid Sound patrons ensconced in our region.  Nothing against our more distant friends, but we’d love as many people as possible to be able to enjoy our hometown and Berkshire hospitality, and to utilize the services of local merchants; the way to do that is to keep as many people as possible as close to home as possible.  We offer bicycle racks within 100’ of our front door, plus a shuttle bus loop, opening up lots of ways to eliminate driving and parking hassles for those who find lodging nearby.”

 A second festival, FreshGrass, focused on bluegrass music, is planned for September 20-22.  “We expect to use AirBnB for FreshGrass in September as well, so once your lodging offerings are listed, you will be good to go for that event too,” noted Joseph.  For civic organizations, church groups, sports clubs, and other not-for-profits with active members or congregations, this could be a great way to raise additional funds for local activities.

 MASS MoCA, the largest center for contemporary visual and performing arts in the United States, is located off Marshall Street in North Adams on a 13-acre campus of renovated 19th-century factory buildings. MASS MoCA is an independent 501(c)(3) whose operations and programming are funded through admissions and commercial lease revenue, corporate and foundation grants, and individual philanthropy.  Except for an initial construction grant from the Commonwealth, and competitive program and operations grants from the National Endowment for the Arts and the Massachusetts Cultural Council, MASS MoCA is privately funded: 90% of annual operating revenues are from earned revenues, membership support, and private gifts and grants.

Posted February 27, 2013 by MASS MoCA
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Lifting Off with Superhuman Happiness

(This post crowd-sourced!)

Superhuman Happiness "up in the club" at MASS MoCA.Photo courtesy Laki Vazakas

Superhuman Happiness “up in the club” at MASS MoCA.
Photo courtesy Laki Vazakas

Most guitarists plug into amplifiers. But after settling down at our table in the soft luminescence of Club B10 at MASS MoCA, I slowly awakened to the reality that this electric guitar was plugged directly into the space-time continuum. Had the concert begun already? Were the gently swelling chords part of the show, or had they always been there from the beginning of time?

Whatever their origin, these notes were not played; they were invoked. The soloist didn’t take the stage; he merely existed alongside the audience. He was a musician without ego, a sonic force without presence, a true rarity in the universe.

I was experiencing the first stage of Superhuman Happiness; serenity.

And then the band arrived, quietly in sneakers, surrounding a single microphone and seamlessly blending in, like a barbershop sextet waking us with a morning raga. Begin stage two: Annunciation. For a few moments, I had both harmony and chaos, form without shape, sound without rhythm, but, oh, did those sneakers need to move…

And move they did! Layers of drums and percussion laid down a solid foundation, reminding us that the revolving Earth was still beneath our feet. The saxophone limned Féla’s peaks, while the rhythm guitar – clear and precise – made it completely obvious that it was time to dance.  A mélange of sonic textures, from spiraling synthesizer to vocals laden with chorus, brought back the 1980s, but then I realized that the ’80s weren’t this compelling.

By the middle of the show, I hit stage four: Liftoff!!  With an expert mix of avant-garde riffs and escalating beats, the performance broke through the lofty factory roof and soared directly into orbit. Never before had I been part of an audience that successfully clapped together in a syncopated rhythm. Never before had I seen a group where five of the members had a lead singing role. Never before had I found myself actually thinking, I need more cowbell!  (The cowbell solo rocked!). These firsts alone were worth the price of admission.

In the final songs of the set, the band expertly navigated our way back down to Earth. The final stage was now complete. More than anything else, this ensemble has a deep understanding of the emotional experience that they want to share with you. Far more than a collection of songs on an album, Superhuman Happiness offers a chance to soar with intentionality and compassion.

Written and submitted by MASS MoCA patrons and music enthusiasts, Christopher B. and Laki V., who travel frequently from New Haven, CT to see shows at MASS MoCA.

Posted February 20, 2013 by MASS MoCA
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Jeff Mangum Plays Intimate Show, Tells Audience They’ll Never Hear His New Songs

Mangum Crowd

Jeff Mangum delights the crowd in MASS MoCA’s Hunter Center.
Photo / Jane Burns / MASS MoCA

It seems like everyone has the same question for Jeff Mangum, the elusive artist behind the legendary late-’90s band Neutral Milk Hotel: Has he written any songs in the past 15 years? Last night, at Mangum’s sold-out concert at MASS MoCA — an art museum in North Adams, Mass. — an audience member yelled for a “new one.” And Mangum replied:  ”You’ll never hear those.”

Fans also ask, Why play little towns like Poughkeepsie and North Adams? What’s Ruston, La. like? (We’ve always wondered about Mangum’s hometown.) And, most of all: Why, after all these years hiding out, is Mangum touring again?

MASS MoCA, located in rural western Massachusetts, is currently hosting a show on contemporary Canadian art. We could go on about the parallels between the super-self-conscious rustic art on display and the manic imagery and identity crises found in Mangum’s music, but we’ll save the dissertation.

The Music Tapes, featuring onetime Neutral Milk Hotel member Julian Koster, played a delightful opening show. They messed around with a seven-foot metronome and a singing TV, creating a huge sound out of horns, organ and banjo. Koster, sporting a dopey winter hat and scarf, strummed a banjo and sang “Pointing hands, pointing hands, somehow we all played in musical bands that toured through the lands” punctuated by booms of baritone horn, crashing cymbals and bonging bells.

Meanwhile, Mangum’s set could have been pulled from a concert in 1998, the year Neutral Milk Hotel released ‘In the Aeroplane Over the Sea,’ their last album. He sang his joyous songs like they were fresh, with a truly impressive amount of energy behind his vocals. He filled the entire room with his voice during “King of Carrot Flowers.” It was a wonder there was any space left for air to circulate.

He performed “Oh, Comely” with the vocal fury and staggering changes in volume and pace that you’ll find on bootlegs of Mangum’s solo shows from the ’90s. “Your father made fetuses with flesh-licking ladies, while you and your mother were asleep in the trailer park,” he sang with every tooth in his mouth bared against the backdrop of his beard.

“Play a new one!” someone in the audience yelled. “You’ll never hear those songs,” Mangum replied. The room went silent. “What?” he smiled. “It’s not that they don’t exist …” He then continued with the concert, leaving everyone yearning for something new.

Throughout the show, Mangum asked the audience to sing along. But because it was a small room, and Mangum accompanied himself with only a guitar, the audience often drowned out the singer, especially on songs like “In the Aeroplane Over the Sea” and “Two Headed Boy, Pt. 2? – the ones everyone knows. As misanthropic as Mangum sometimes seems (no cameras were allowed at the show, and no interviews were granted during the entire tour), he sounded truly ecstatic last night.

Mangum told the crowd that he “didn’t know what to expect” on his first tour in 15 years. “But I’m very touched by everyone who has come to hear me play.” As the college kids in the audience sang along with him, he smiled like he was grateful for the attention.

And maybe that’s the answer to one of the questions. Maybe Mangum is touring because he misses hearing his words sung back to him. It must be awesome to see how much people become absorbed in his dream-flow storytelling. Not to mention that he’s become an underground legend in the 15 years since his masterpiece was released. But one last question: Why won’t he sing us those new ones?

Review by Chris Kissell originally posted at on February 18, 2013.

Posted February 19, 2013 by MASS MoCA
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So you want to…be a managing director.

Have resumes and cover letters become your (least) favorite new hobby? Times are tough out there for recent graduates and young professionals – competition is fierce and you can’t be an intern forever.  In our new blog series, So you want to…, our museum staff offers advice and inspiration for pursuing an arts career. Don’t worry– all those applications will eventually turn into an interview!

Susan E. Killam has served as MASS MoCA’s Managing Director for the Performing Arts and Film since November 2004. She coordinates over 65 events per year including three music festivals (Wilco’s Solid SoundBang on a Can, and FreshGrass Bluegrass Festival) and multiple performing arts spaces including the Hunter Center (a 10,000 square foot black box), Club B-10, and the outdoor Courtyard B. Before coming to MASS MoCA, she worked with the  entertainment law firm Garcia, Francis & Associates, the Philadelphia and Boston Volunteer Lawyers for the Arts, the HIV/AIDS Law Consortium (where she was the founding director), and the Family Planning Council of Western Massachusetts. Sue holds a Bachelor of Science degree in Film & Broadcasting from Boston University and a Juris Doctor degree from Temple University in Philadelphia.  She is a member of the Bar in the Commonwealth of Massachusetts.

Sue Killam and Laurie Anderson--one of Sue's favorite artists

(Photo of Sue and Laurie Anderson–one of Sue’s favorite artists)

What is the best career advice you ever received? 

Don’t be afraid to raise your hand.  I was first told this back in elementary school, but was told it again at my first real job.   It’s great advice.  It’s better to ask questions if you don’t know the answer or how to do something asked of you.  It’s better to spark dialogue by sharing reactions and thoughts. Raising your hand means you’re willing to chip in, help out, and when it matters, be counted.

How would you encourage recent graduates to make the most of internship experiences?

I collected internships when I was younger.  I couldn’t get enough hands on experience.  I always found that the key was to keep your eyes and ears open to what’s happening around you as you will often learn more by observing than simply completing tasks.  Never lose sight of the bigger picture.

What was a formative arts experience for you as a young person? 

Because I grew up in the Berkshires with parents who were involved in the arts, there wasn’t a cultural organization that I didn’t visit.  Summers were spent listening to the Boston Symphony while stargazing, ushering for the Williamstown Theatre Festival, trips through the Clark, and gallery guarding for the Williams College Museum of Art.

My favorite activity was going to summer concerts at the Saratoga Performing Arts Center; while some of my friends aspired for autographs or glimpses of the band, I could be found at the edge of the stage, fascinated as the crew packed up gear, took down sets, coiled cables, and brought the stage back for the next day. I wanted to be a part of that.

What is one of your current social media or web obsessions? 

Kickstarter makes donating money accessible, fun, and interesting. I love to see the range of ideas out there, watch the short pithy video pitches, and track the success (and failure) of campaigns.

Fill in the blank: The future of the arts depends on an engaged and intrepid audience.

Posted January 22, 2013 by MASS MoCA
Filed under BLOG, Interns, Museum Education, Staff
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