Burning Spear lights up the box office


By Rebecca McBrien

MASS MoCA Intern, Blogging Specialist

I worked at Disney, so I’m used to lines. Still, I was blown away by the crowd at the Burning Spear concert at MASS MoCA.

When I came to MoCA to help with the show a couple Saturday’s ago, I was asked to help out at the front of house, fitting wrist bands on guests as they came in. “Sure no problem,” I thought. “How many people are we expecting?”

The cavalier response I received from the box office was just over 1,000 people.

And so the preparations began. Do we have enough wrist bands? We ran out? Ugh.

Are the tickets alphabetized? Great.

Did we do a final print for any last minute tickets? Okay, I’m on it.

Are we expecting a lot of walk ups? We are? Oh yeah.


There is a lot of work that goes into prepping for a show. Our production crew works for days setting up our venue. Our performance arts staff creates a program, oversees the printing and organizes vendors. Our awesome volunteers help us with everything from manning the coat rack to helping you find your seat.

But for the first hour the doors are open, it is often chaos at the box office. Preparation is vital for speed and efficiency; we want to get you in to the show as fast as we can, for your enjoyment and in hopes we catch a song or two too.

Sometimes we they may need an extra cup of coffee, but the box office crew works like a well-oiled machine. Saturday we were at the top of our game. Over 1,200 people filed into the Hunter Center in under 45 minutes, worthy of a victory dance.

And dance we did!


It was a crazy night. In my time here, I haven’t seen a crowd so excited to enjoy music. With all the excitement and lights, I realized, once again, what a neat place this is. There were rastafarians rocking out and parents with their kids dancing in the hallway. And there was an amazing sense of community, with people bumping into each other they hadn’t seen since ’92 in the awesome concert in Los Angles… or was it San Diego? With the haze of the night, the sweet smell of patchouli pervading the air, and people dancing to the music, I’d say the lines were worth it!

Posted February 27, 2014 by MASS MoCA
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Inside Filthy Lucre


Filthy Lucre in progress

“I set out to recreate Whistler’s fabled Peacock Room in a state of decadent demolition — a space collapsing in on itself, heavy with its own excess and tumultuous history. The once-extravagant interior is warped, ruptured, and in the process of being overtaken by natural phenomena: stalactites hang from the mantelpiece, light fixtures morph into crystal-like formations, and moss and barnacles cover the walls. Painted vessels sit broken and scattered, or drip florescent glazes down the latticed shelves. The shimmering central mural melts down the wall onto the floor in a puddle of gold.  The painting of the reigning ‘Porcelain Princess’ — depicted in fantastical deformity — oversees the unsettling scene.”

 Artist Darren Waterston on Filthy Lucre, which is now on view at MASS MoCA as part of Darren Waterston: Uncertain Beauty

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The original Peacock Room — the dining room for the London home of shipping magnate Frederick Leyland — was designed to showcase Leyland’s collection of Asian ceramics. When asked to consult on the color scheme for the room, Whistler took bold — if not egregious — liberties while Leyland and his architect were away, and in a fit of enthusiasm painted the entire room — executing his now famous peacocks over the expensive leather wall panels. The collector refused to pay Whistler’s full bill and banned him from the house; in response, Whistler painted an unflattering caricature of his patron titled The Gold Scab: Eruption in Frilthy Lucre (The Creditor) – now in the collection of the de Young Museum, San Francisco, California. Conflating the words frilly and filthy, Whistler made a jab at Leyland’s own ‘peacocking’ as well as his miserliness.

RS31214_Waterston in process Panorama9-scr Filthy Lucre hints at parallels between the excesses and inequities of the Gilded Age (and the European society it mimicked) and the social and economic disparities of our own time.  It raises questions about patronage and the relationships between artists, collectors, and institutions. Filthy Lucre is a reminder of the complexities and contradictions of the artist-patron relationship, as well as a reference to the relationship between art and money. RS31220_2013_November_DarrenStudioVisit_3_004-scr Inspired by Leyland’s collection and that of American industrialist, Charles Freer, who acquired The Peacock Room after Leyland’s death, Waterston has hand-painted 250 ceramic vessels (some found and some created by local ceramic artist Diane Sullivan) for his reinterpretation of the notorious room.


Waterston’s interpretation of Whistler’s La Princesse du pays de la porcelaine


Waterston engaged local stained glass artisan Debra Coombs to create the luminous lanterns for Filthy Lucre.


Studies for Filthy Lucre.

Two galleries filled with nearly thirty of Waterston’s paintings and works on paper, accompany the installation, including a selection of studies for Filthy Lucre.

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Darren Waterston, Swell, 2013, Oil on wood panel

See the installation process as our hard-working crew moves Filthy Lucre into the gallery in the above video, complete with a sample of the haunting voice and cello soundscape from New York rocker trio BETTY, who perform up in our Club B-10 on March 22.

“One of the most outstanding collaborative projects we’ve ever done with an artist here at MASS MoCA.”– Richard Criddle, MASS MoCA Director of Art Fabrication,

Posted February 18, 2014 by MASS MoCA
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Western Swing in Style

We’ve got a great band, delicious food, fun drinks and plenty of room to dance – now it’s time to put together our outfits for Saturday’s Western Swing Dance Party.


Remember – comfort and mobility are key, so try to avoid anything that’s going to restrict your favorite dance moves.


Bike shorts under your skirt are also a good idea, especially if you’re planning anything like this: