Museum director Joe Thompson blogs about the latest goings-on at MASS MoCA.
I love mud season because it kicks off MASS MoCA‚Äôs most intense season of making art. It‚Äôs our sugaring season. Our performing arts stages are booked solid with residencies, and the galleries are abuzz with visiting artists.
I caught Gisele Amantea in the act of converting our Hunter foyer into what may end up feeling a little bit like a Canadian bordello (which is to say polite, and rather chic), riffing wildly on a Louis Sullivan decorative motif from the tomb of the wife of one of the architect‚Äôs greatest Chicago patrons, Ellis Wainwright.
But Gisele (seen here in the middle, with black shirt) is also riffing on the ‚ÄúMASS‚ÄĚ in MASS MoCA — her finger poking gently in our ribs for our penchant for large-scale work — by elaborating the delicate fleur-de-lis designs into man-eating dimension: every part of the design that is now white will soon be flocked into light-sucking blackness, and extended for the full 90‚Äô length of the space.
This is the powerful first contribution by a Canadian artist to our upcoming Oh, Canada show, opening this Memorial Day.
On a more precipitous timeline is Making Room, the Space Between Two and Three Dimensions, which just opened Saturday.
Claire Harvey was in town this past week for Making Room, doing an extraordinary series of tiny paintings on small pieces of glass and acetate, which are then projected on the walls and other provisional surfaces using old-fashioned overhead projectors, like your teacher used to do in fifth grade.¬† It‚Äôs startling how much modeling and complex space she can generate in renderings that in some cases are only ¬ĺ‚ÄĚ high, but which gain extraordinary presence when projected and enlarged to a height of 5‚Äô tall.
Continuing the theme of utilizing obsolete techniques with new media technology and inventive presentation,¬† Chlo√ę √ėstmo was also in North Adams this past week, fastidiously suspending over 200 photographs on a grid of cotton thread. The amazing effect is that of a single image. Here is a shot showing Chlo√ę’s process midway through installation.
This is going to be a sleeper of an exhibition, full of engaging art, rich narratives, and interesting cross-references: a true show. It is superbly selected by Caitlin Condell and Ali Nemerov, both now students in the Williams College-Clark Art Graduate Program in the History of Art, and MASS MoCA graduate interns. The eleventh in our series of exhibitions organized by up-and-coming curators, and realized with the support of the Clark (and, in this case, the helpful guidance of MASS MoCA curator Susan Cross), the exhibition is a fascinating bookend to the previous iteration of this series, Memery, which celebrated the internet‚Äôs capacity to propel strange bits of otherwise forgettable popular culture deep into our collective memories through sheer repetition and the power of web-buzz.¬†¬†Making Room, on the other hand, focuses on work that celebrates and rewards careful looking through creation of complex visual spaces and thoughtful forms that feel, at times with a wisp of nostalgia, like an antidote to online frenzy.
Posted February 27, 2012 by MASS MoCA
Filed under Exhibitions, Making Room: The Space Between Two & Three Dimensions, Making Room: The Space Between Two & Three Dimensions, Oh Canada, Work-in-progress
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