MASS MoCA and Assets for Artists are excited to announce the second round of the North Adams Project! Launched in 2014, the Project aims to support North Adams-based artists while adding momentum to the Cityâ€™s growing cultural economy.
Assets for Artists is known for its innovative artist support programming. Through a mix of funding and educational resources, the program helps artists work toward business growth and financial stability. After years of serving creatives across Massachusetts, Assets for Artists piloted its hometown North Adams Project last summer. The result? A cohort of nine artists, three of them long-time Berkshire county residents, and six, newcomers who packed their bags and relocated to North Adams from as far away as California.
Tim Walker, Relational Storage, 2013
For newcomers, the lure is the unique support of Assets for Artists, plus the considerable assets of North Adams itself: natural beauty, affordability, and a happening arts culture.
Last yearâ€™s new artists have wasted no time becoming part of the local scene. Natalie Tyler, a glass artist from California, is renting a downtown storefront from which sheâ€™ll sell her glass sculpture and teach workshops. Metalsmith Kristal Romano, who moved to North Adams from New Jersey, found her studio at the historic Beaver Mill and will soon be selling her signature torch-fired enamel jewelry in MASS MoCAâ€™s store. Sculpture duo Tim Walker and Samantha Pasapane, from New York and New Jersey (respectively), have set up a workspace at the Blackinton Mill in North Adams. This year, joining their creative skills in wood and metalwork, they plan to launch a collaborative business producing functional objects for the home.
For the second round of the North Adams Project, we are again taking applications from current residents and new arrivals. Itâ€™s an exciting time to be in North Adams: Last year we were named one of the top U.S. cities for young creatives and this year we have the Huffington Post asking, â€śWhat is it about the extreme northwestern corner of Massachusetts, squeezed between Mt. Greylock and the Green Mountains of Vermont, that draws such exceptional art institutions?â€ť Throw MASS MoCAâ€™s upcoming expansion into the mix, and youâ€™ve got yourself a city on the precipice of something huge.
Kristal Romano, Torch-Fired Enamel Earrings, 2014
There are plenty of reasons for creatives to call North Adams home: its abundant natural beauty, outdoor recreation, amazingly affordable homes and studio space, and local dynamic art scene. MASS MoCAâ€™s Assets for Artists program is adding another: financial support and professional development for artists committed to building a creative practice in North Adams. Artists selected to participate in the North Adams Project will receive artist-focused training and match money for investments in their creative enterprises. Weâ€™re excited to attract and retain another round of great artists in North Adams and, in the process, make North Adams an even more vibrant place to live and work.
John Ryan, The Tempest, 2013
We invite artists to apply in two categories: those already living or working in our hometown, and those who have yet to discover North Adams. Weâ€™re offering incentives and special programming for new artists eager to put down roots in our hip little city. Artists in all disciplines and financial circumstances are encouraged to apply.
Interested? Learn more about our North Adams Project here. The deadline to apply is May 31, 2015.
Natalie Tyler, Yellow Jacket Nest, 2010
Feel free to email us at firstname.lastname@example.org with questions and let us know how we can help you achieve a creative future in North Adams!
To learn more about MASS MoCAâ€™s Assets for Artists program and to stay up to date with the 200+ artists in our network across the Northeast,Â visit our website, find us on Facebook, and follow us @Assets4Artists on Twitter.
A few short weeks ago, renowned choreographer Lucinda Childs was in residency at the museum with her dancers, rehearsing her revamped version ofÂ Available Light. Childs’s seminal collaboration with architect Frank Gehry and composer John Adams was performed March 6, 7, and 8Â for the first timeâ€”on Gehry’s reimagined set to Adams’s original scoreâ€”since 1983.
Naturally, we filmed a bunch of rehearsals, conducted numerous interviews, set up time lapses, and snapped lots of photos to preserve the revival of this formative piece. They’re all compiled here, in chronological order, so you allÂ at home can feel like you were right there with us watching Available Light‘s rebirth.
First up is a time lapse of the Hunter Center as our production team set the stage (literally) for the show. The set they constructed is slightly different from Frank Gehry’s 1983 original; though the aesthetics are similar, this version is more logistically viable for touring the world, and can be built at virtually any venue (click for video):
Once the stage was set, the dancers began to rehearse…
But luckily, Lucinda Childs and her dancers weren’t too busy to get a tour of the galleries from our director, Joseph Thompson:
And before showtime, we stopped to chat with the choreographer herself about revamping one of her major works (click for video):
Then, after nearly a month of rehearsals, it was finally time for three intimate, work-in-progress performances of the piece…
And they were breathtaking:
The dancers took a much-deserved bow, but the night wasn’t over just yet.
After each showing, audience members got their questions answered during an exclusive Q&A session with Lucinda Childs and Julie Lazar, the original commissioner ofÂ Available LightÂ at the Museum of Contemporary Art, Los Angeles’s Temporary Contemporary, facilitated by our managing director of performing arts, Sue Killam:
Now, the only thing left to do was strike:
And by the end of the whirlwind three-week residency, someÂ members of our production team got a little bit silly. Yes, Tim, we’re talking about you:
In June, Available Light will have its premiere at Frank Gehry’s Walt Disney Concert Hall.
Now that we’re done with one major dance performance, we’re gearing up for another: if you loved Available Light as much as we did, don’t miss the sleek choreography and electrifying movements of Larry Keigwin’sÂ KEIGWINÂ +Â COMPANY, aÂ co-presentation with Jacob’s Pillow Dance, in our Hunter Center on April 11 and 12.
The Dying of the Light: Film as Medium and Metaphor, a film exhibition which featured severalÂ massiveÂ projectors and analog films,Â closed to the public last week. In a photo essay, our film technician intern reflects upon the six months he spent tending to one of our highest-maintenanceÂ exhibitions.Â
By Karl Frederick Mattson
The Dying of the Light: A once continuously looped film exhibition, temperamental in nature, and spliced together with a heavy dose of preservation and nostalgia. The delicate technical maintenance required for such an exhibition came down to a physical science. The projectorsÂ â€” essentially living and breathing mechanical wondersÂ â€” came with their fair share of daily issues. Given that the exhibition ran constantly for 11 months from opening to close on a daily basis resulted in an indefinite amount of time behind the scenes to keep the bustling machines running.
The following series of images is a brief account of the attentive technical maintenance that was required to preserve and often repair the nearly obsolete presentation, medium, and metaphor of analogue film in a public setting.
The film before the film.
The War Room, where a vast array of film equipment was stored.
The film tech cart, which included all of the necessary projector tinkering tools.
Prepping the olâ€™ movie theater projector (oil leaks galore) for a new print of Rosa Barba’s The Long Road.
Watching for the green ray while testing out a new print.
Turning on Matthew Buckingham’s False Future, hoping the projector lamp wonâ€™t burn out (again).
Last week, MASS MoCA was lucky enough to have Helado NegroÂ (the moniker for musician Roberto Lange) in residency working on the next installment of hisÂ Island Universe Story. Roberto and his musical collaborators, Mikael Jorgensen of Wilco, Jason Ajemian and Jason Trammell of the William Onyeabor Atomic Bomb Band, and Oliver Chapoy of Certain Creatures, spent six days in our studios before performing on Saturday night. Here’s a video of Roberto discussing his project and what it’s like to create and collaborate at MASS MoCA.
Yesterday, Roberto announced that he was a recipient of the Joyce Award for 2015, along with previously exhibiting MASS MoCA artists Nari Ward and Sanford Biggers. HisÂ award will be used to produce the upcoming performance of Island Universe StoryÂ as part ofÂ the Saint Paul Chamber Orchestra’s Liquid Music series in March. The Joyce Award allows the SPCO to partner with Helado Negro to bring this groundbreaking, Latin-inspired sonic performance to new audiences with a group of world class musicians who have performed with Wilco, Stereolab,Â and David Byrne.
Roberto, we couldn’t be happier for you. Congratulations!
As the holiday season whips by in a flurry of flash sales and, well, flurries, it can be easy to get carried away in the â€śgettingâ€ť and forget to be thankful for all that we already have. As our fifteenth year becomes our sixteenth year, the staff here at MASS MoCA looks back with gratitude on twelve monthsâ€™ worth of programming, residencies, and exhibits. From music festivals to educational workshops to large-scale art installations, here are the moments from 2014 that weâ€™re the most thankful for:
Last winter, local glass artist Debora CoombsÂ was onsite at MASS MoCA for a few weeks, faux-painting andÂ creating gold texture for interior surfaces in Darren Waterston’s Uncertain Beauty exhibition at MASS MoCA. For the museum’s annual gala this fall, Coombs and WaterstonÂ showed off their latest collaboration, a sold-out edition of 38 hand-made lanterns.
Here’s a peek inside Coombs’ studio and the lantern-making process.
Darren Waterston, painting landscapes onto glass
Coombs and Waterston at the NYC Gala in October
Learn more about Darren Waterston’s MASS MoCA exhibition Uncertain Beauty hereÂ and visit Coombs’ website to learn more about the glass process and her work.