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Category: Art

Art

Why Draw? 500 Years of Drawings and Watercolors at Bowdoin College, May 03, 2017 – September 03, 2017

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.

About Michael Miller

Michael Miller, Editor and Publisher of New York Arts and The Berkshire Review, an International Journal for the Arts, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on The Berkshire Review and New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

Art

Patrick Dougherty’s Stickworks Augments the Experience of Fall in Massachusetts

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.

Virginia Raguin

About Virginia Raguin

Virginia Chieffo Raguin, Ph.D. Yale University, is professor of Art History at the College of the Holy Cross. She has published widely on religion, stained glass and architecture including Stained Glass from its Origins to the Present with Abrams (USA) and Thames and Hudson (GB) in 2003. A member of the International Corpus Vitrearum, she has co-authored Stained Glass before 1700 in the Midwest United States (Harvey Miller Press, London, 2002). Most recently she edited Art, Piety, and Destruction in the Christian West, 1500–1700, Ashgate, 2010. Her museum exhibits have included Glory in Glass: Stained Glass in the United States: Origin, Variety and Preservation 1998-99, and Reflections on Glass: 20th Century Stained Glass in American Art and Architecture, 2002-03, at the Gallery at the American Bible Society, and, most recently Pilgrimage and Faith: Buddhism, Christianity, and Islam a traveling exhibition to appear in Worcester, Chicago, Richmond, and The Rubin Museum of Art, New York from 2010 through 2011.She also wrote the catalogue essay for Kiki Smith’s recent exhibition in the Pace Gallery, New York: Kiki Smith: Lodestar, 2010.

Art

Rodin: The Evolution of a Genius, formerly at the Virginia Museum of Fine Arts, Opens at The Peabody Essex Museum, Salem May 16, 2016

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.

Bruce Boucher

About Bruce Boucher

Bruce Boucher, is director of the University of Virginia Art Museum. Before that he was curator of European sculpture at the Art Institute of Chicago, a position he has held since 2002. 

Boucher is the author of numerous books, among them “Andrea Palladio: The Architect in His Time,” and he lectures widely on Palladio as well as Italian artists such as Donatello, Tintoretto and others, with a focus on the artists working in the Renaissance and Baroque periods. He was chief curator of the exhibition, “Earth and Fire: Italian Terracotta Sculpture from Donatello to Canova,” which was shown at the Museum of Fine Arts in Houston and Victoria and Albert Museum in London in 2001-2002. He also co-authored the exhibition catalog.

Prior to joining the Art Institute, Boucher taught art history at University College London for 24 years. He also spent two years as visiting member of the Research Department of the Victoria and Albert Museum in London, between 2000-2002. During his tenure at the Art Institute, Boucher taught at the University of Chicago, and he lectures regularly at institutions around the country and abroad. 

This year he lectured in Vicenza, Italy, at a symposium marking the 500th anniversary of Palladio’s birth. He has also spoken on Palladio’s villas at New York’s Institute of Classical Architecture and most recently at a symposium on Palladio at Notre Dame University.

Boucher earned his B.A., magna cum laude in Classics and English from Harvard University and a B.A., M.A., in English Language and Literature at Magdalen College, Oxford University as a Rhodes Scholar. Before entering Oxford, he traveled to Italy and fell in love with the art and architecture. This event led him to change his course of research. After Oxford he went on to earn a M.A. with distinction at the Courtauld Institute of Art, University of London, and then a Ph.D. there with a thesis on the Venetian sculpture of the architect Jacopo Sansovino.

Boucher serves on numerous professional organizations and advisory committees. He has received various honors, including a fellowship at the prestigious Harvard Center for Renaissance Studies at the Villa I Tatti, the Alexander von Humbolt Fellowship, and the Salimbeni Prize for his monograph, “The Sculpture of Jacopo Sansovino.” He also was a guest scholar at the J. Paul Getty Museum and served as guest curator on the research department of the Victoria and Albert Museum from 2000 to 2002.

Richard Harrington, Form Art

FINITE INFINITY: a sculpture and light installation by Richard Harrington featuring sound performances by Forrest Larson, Phil Van Ouse

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.

Richard Harrington

About Richard Harrington

Richard Harrington is a sculptor, printmaker, and installation artist residing in the Northern Berkshires.

Joanna Gabler, Hoosic River in the Fall Art

Joanna Gabler, Our River, an exhibition of digital “Transcapes,” devoted to the Hoosic River and its tributary, Broad Brook

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.

About Michael Miller

Michael Miller, Editor and Publisher of New York Arts and The Berkshire Review, an International Journal for the Arts, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on The Berkshire Review and New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

Andris Nelson conducts the BSO at Tanglewood. Photo Hilary Scott. Art

Two Weekends in the Country: The BSO and the Festival of Contemporary Music at Tanglewood, Jacob’s Pillow, the new Clark, Mass MoCA, and Boston Midsummer Opera’s Bartered Bride

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).

About Lloyd Schwartz

Lloyd Schwartz, Senior Editor of Classical Music at New York Arts, is Frederick S. Troy Professor of English at the University of Massachusetts Boston and a regular commentator on music and the arts for NPR’s Fresh Air. For 35 years, he was Classical Music Editor of the Boston Phoenix. He is the author of three poetry collections and the editor of three volumes by and about poet Elizabeth Bishop, including the Library of America’s Elizabeth Bishop: Poems, Prose, and Letters. His poems, articles, and reviews have appeared in The New Yorker, The Atlantic, Vanity Fair, New Republic, Paris Review, Ploughshares, The Pushcart Prize, Best American Poetry, and, most recently, The Best of the Best American Poetry. He’s a three-time winner of the ASCAP-Deems Taylor Award for his writing about music, and the recipient of a grant from the Amphion Foundation for his writing on contemporary music. In 1994, he was awarded the Pulitzer Prize for Criticism.

Joanna Gabler, Roots 2, 2013. Archival pigment print. Art

Berkshire Artist Joanna Gabler, “Emigrés – Where is Home?” at Gallery Ehva, Provincetown: October 25-November 5, 2013 – Opening Friday, October 25, 6-8 pm

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
(508) 487-0011

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.

About Michael Miller

Michael Miller, Editor and Publisher of New York Arts and The Berkshire Review, an International Journal for the Arts, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on The Berkshire Review and New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, Il Museo di Roma a Trastevere, etc. and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

A Singer’s Notes 73: Michael Phillips’ Reproduction of a Blake Print

Dear Reader,

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.

Keith Kibler

About Keith Kibler

Twice a Fellow of the Tanglewood Music Center, Keith Kibler’s doctorate was earned at Yale University and the Eastman School of Music. He is one of the region’s most sought after teachers with students accepted at the New England Conservatory, the Juilliard School, Peabody and Hartt Conservatories, the Tanglewood Institute, and the Aspen Music School. Keith Kibler is an adjunct teacher of singing at Williams College.

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