Between the limits of the discipline, as it is taught in graduate schools, and the structure of museological functions, exhibitions of drawings usually adhere to a restricted range of formats, which, while continuing to be viable for institutions and the public and useful for scholars in the field, can be felt as constricting for those who conceive and execute them. The scope of drawings exhibitions can be determined by time and/or place (stylistic categories), or an artistic personality (monographic), or collection (“Treasures on Paper from…”), and perhaps a few others. When a curator is faced with such a project, he may may find himself wrestling with an urge to break the mold and create something new.
Patrick Dougherty has been making popular installations over a 30-year career in the tradition of Earthworks. Raised and educated in North Carolina (he resides in Chapel Hill), he began with a hand-crafted house in the 1970’s and a decade later was showing human stick figures positioned or standing in chairs. His first works were displayed in art galleries and at art centers before he became engaged with architectural follies that are often massive structures that leap from tree to tree, cover facades of buildings, or stand as independent houses or similarly monumental forms. His output in the past decade numbers nine to ten installations a year—each occupying about three weeks of uninterrupted effort. As well as the hundreds of sculptures in the United States, his work has been enthusiastically received internationally in almost every country in Western Europe as well as Japan and South Korea.
Auguste Rodin is one of those institutional artists, whose last name has become synonymous with a distinctive kind of art, much the same as Donatello or Rembrandt, but Rodin: The Evolution of a Genius, currently on view at the Museum of Fine Arts, Richmond, is as remarkable as it is unexpected. While it covers the salient points in Rodin’s oeuvre, the focus here is neither marble nor bronze, but rather the humbler medium of plaster. The underlying thesis is that Rodin was more of a modeler than a carver, a practice reflecting the nature of the art market in his day as well as the sculptor’s natural inclination. Created jointly by the Musée Rodin in Paris and the Musée des Beaux-Arts of Montreal, the exhibition showcases two hundred works that emphasize Rodin’s pivotal place in the grand tradition of sculpture, between the worlds of Michelangelo and of Brancusi.
To begin with, the word infinity needn’t be capitalized as I’ve done here. Infinity is everywhere―which is the key to understanding what this show is about. In the 1980’s Douglas Hostaedtler in Goedel, Escher, Bach, devoted an entire chapter to why infinity ought not be capitalized, that may be why we decided to name the show finite infinity.
North Adams owed its development into a small but important industrial city to its abundant water supply, above all, the Hoosic River. Often this reliable source of power and drainage for its factories overflowed its boundaries and flooded neighborhoods of the city with its water, which eventually became toxic from the wastes of the textile and dyeing factories. In the 1950s the US Corps of Engineers constructed concrete flood control chutes some 45 feet wide and 10-15 feet high, funneling the two branches of the Hoosic River through North Adams’ downtown. Today the factories are gone. A smaller North Adams, with slightly over half the population it enjoyed at its industrial peaks around 1900 and 1950, must now rebuild its economy and quality of life.
As life in the city slows down, life in the country west of Boston ratchets up. I went out to the Berkshires to catch as much as I could of Tanglewood’s fiftieth Festival of Contemporary Music, this year curated by Boston composers and longtime Tanglewood faculty members John Harbison (a composition fellow in 1959) and Michael Gandolfi (a fellow in 1986).
Joanna Gabler, “Emigrés – Where is Home?” at Gallery Ehva, Provincetown: October 25-November 5, 2013 – Opening Friday, October 25, 6-8 pm.
74 Shank Painter Road
Provincetown, MA 02657
On view in the Gallery Ehva in Proveincetown is “Nature Transfigured,” an exhibition of works by Joanna Gabler, painter and photographer. The art in this exhibition is the fruit of Joanna’s passion for photography and her quest for uncovering the mysteries of nature. Sensitive to color and form, she goes out into Nature, seeking her own personal vision. She considers her art to be inspired by and co-created with Nature. By using photography and developing it further through digital media as a creative tool Gabler’s goal is to add a new dimensions and possibilities to physical reality, which exist there in potential, remaining invisible until the artist’s inner eye discovers them. Gabler calls her images “transcapes,” because they are landscapes transfigured by her artistic vision.
I want to share one of my treasures with you. You will find below a plate from William Blake’s “Songs of Innocence and Experience” which gets as close to the real thing as can be. It was made by Michael Phillips and hand painted my admired friend, Doug Paisley. I am no expert on how this is done, but I can tell you that Mr. Phillips is.