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X-WR-CALDESC:Events for MASS MoCA
BEGIN:VEVENT
DTSTART;VALUE=DATE:20050508
DTEND;VALUE=DATE:20290502
DTSTAMP:20260405T163351
CREATED:20150601T233755Z
LAST-MODIFIED:20201215T135321Z
UID:125-1115510400-1872374399@massmoca.org
SUMMARY:Christina Kubisch: Clocktower Project
DESCRIPTION:The comparison of a city’s clock to a person’s heart\, though it has been made countless times\, remains evocative. When Christina Kubisch first visited MASS MoCA in 1996\, she was moved by the fact that the century-old factory clock had not kept time\, nor had its bells rung\, since 1986\, when the Sprague Electric Company vacated the 13-acre site. This 19th-century clock\, inside an eighty-foot tower with a 750-pound and a 1\,000-pound bell\, had set the rhythm of the workday in North Adams since 1895\, ringing every quarter hour. Now those bells and beautiful brass clockworks share the tower with components of The Clocktower Project: solar panels\, electronic sound system\, and a computer with Kubisch’s unique program on its flash disc.\nKubisch felt that the loss of these bell sounds could be as keenly felt as the loss of an important local building. With this in mind\, she undertook to restore the clock in a way that would also mark the arrival of contemporary art in the city. A classically trained musician and professor of experimental art\, Kubisch began playing the bells like musical instruments\, ringing them with their clappers as well as hammering\, brushing\, and striking them with her hands and various tools. She recorded the bell tone database with a digital audio recorder. \nKubisch then placed small solar sensors in a band encircling the tower just under the bell window. The sensors relay information about the intensity and location of the sun to a computer inside the tower. A unique software program\, designed for this project by Berlin engineer Manfred Fox\, interprets the solar information and combines Kubisch’s pre-recorded bell sounds in response to light conditions. Thus\, a sunny summer morning generates loud\, distinct\, metallic tones\, while a gray afternoon in winter brings about softer\, somewhat melancholy sounds. At noon and 5pm\, the computer plays a short pre-set concert\, but at other times the brief compositions change with the quality of light and time of day. This use of unpredictable changes in the weather\, coupled with an algorithmic function in the program that prevents the mini-compositions from repeating\, marks the influence of the American composer and artist John Cage on Kubisch’s work. \nThe fading daylight\, registered by the solar panels\, causes The Clocktower Project to fall silent in the evenings. At the same time\, the four faces of the clock begin to glow faintly and remain illuminated through the night. Kubisch coated the 4′-diameter clock faces with a phosphorescent paint and placed black lights behind the faces. The cool blue-white light quietly marks the transformation of the tower when the bell sounds have ceased. \nKubisch has made a number of hauntingly beautiful synaesthetic works\, including The Clocktower Project\, that allow her audience to “hear the light\,” as she puts it. Many of her recent installations have focused on the transformation of light into sound using solar panels and ultrasonic devices. Kubisch’s thoughtful investigation of the historical sound character of the MASS MoCA site\, and creation of a complex\, technology-rich work\, typifies MASS MoCA’s approach to long-term\, site-specific art\, all of which are somehow integrated into place and history. \n\n \nSupported by the Sterling & Francine Clark Art Institute\, the Goethe-Institut Boston\, the Massachusetts Cultural Council\, Mary & Henry Flynt\, and Solarex. \n\n \n
URL:https://massmoca.org/event/christina-kubisch-clocktower-project/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Art,Exhibition,Ongoing Exhibitions,Sound Art
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/06/Clocktower_Full.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081106
DTEND;VALUE=DATE:20431108
DTSTAMP:20260405T163351
CREATED:20150601T224345Z
LAST-MODIFIED:20260405T020052Z
UID:107-1225929600-2330553599@massmoca.org
SUMMARY:Sol LeWittA Wall Drawing Retrospective
DESCRIPTION:Sol LeWitt: A Wall Drawing Retrospective occupies nearly an acre of specially built interior walls that are installed—per LeWitt’s own specifications—over three stories of a historic mill building situated at the heart of MASS MoCA’s 19th-century\, former factory campus. A landmark collaboration of MASS MoCA\, Yale University Art Gallery\, the Williams College Museum of Art\, and the Sol Lewitt estate\, over 60 artists and art students spent six months rendering 105 large-scale wall drawings spanning the artist’s storied career.\nVisit the Sol LeWitt: A Wall Drawing Retrospective site. \nMASS MoCA Director Joseph C. Thompson comments\, “With this exhibition\, Sol LeWitt has left an amazing gift for us all. Great art draws upon previous artists\, but also contradicts and contravenes. And the most essential art argues for new ways of seeing\, even as it is almost immediately absorbed into the work that surrounds and supersedes it. As I believe is evident in this landmark exhibition\, LeWitt’s wall drawings rise to those highest of standards. This amazing collection of works is on long-term view as a sort of proton at the center of our museum around which our program of changing exhibitions and performances will orbit with even more energy.” \nThe works in the exhibition are on loan from numerous private and public collections worldwide\, including the Yale University Art Gallery\, to which LeWitt designated the gift of a major representation of his wall drawings\, as well as his wall-drawing archive. \nLeWitt—who stressed the idea behind his work over its execution—is widely regarded as one of the leading exponents of Minimalism and Conceptual Art\, and is known primarily for his deceptively simple geometric structures and architecturally scaled wall drawings. His experiments with the latter commenced in 1968 and were considered radical\, in part because this new form of drawing was purposely temporal and often executed not just by LeWitt but also by other artists and students whom he invited to assist him in the installation of his works. \nEach wall drawing begins as a set of instructions or a simple diagram to be followed in executing the work. As the exhibition makes clear\, these straightforward instructions yield an astonishing—and stunningly beautiful—variety of work that is at once simple and highly complex\, rigorous\, and sensual. The drawings in the exhibition range from layers of straight lines meticulously drawn in black graphite pencil lead\, to rows of delicately rendered wavy lines in colored pencil; from bold black-and-white geometric forms\, to bright planes in acrylic paint arranged like the panels of a folding screen; from sensuous drawings created by dozens of layers of transparent washes\, to a tangle of vibratory orange lines on a green wall\, and much more. Forms may appear to be flat\, to recede in space\, or to project into the viewer’s space\, while others meld to the structure of the wall itself\, like gauze. \nDownload a podcast audio tour of the Lewitt installation from iTunes. \nOf the installation process\, Jock Reynolds\, the Henry J. Heinz II Director of the Yale University Art Gallery\, noted\, “Watching this grand installation of Sol LeWitt’s wall drawings progress over six months has been nothing short of thrilling. In addition to providing an enduring exhibition of great beauty\, this retrospective will enable visitors to behold for the first time the full trajectory of a major aspect of Sol’s artistic career. Until today\, the only way to view multiple LeWitt wall drawings has been to travel far and wide\, pursuing them individually in situ or in temporary museum exhibitions. Now\, visitors will be able to return to MASS MoCA again and again to experience this visual feast of Sol’s wall drawings in a single location\, doing so at their leisure over twenty-five years.” \nProject History\nThe impetus for Sol LeWitt: A Wall Drawing Retrospective was a 2004 conversation between Reynolds and LeWitt. As the conversation evolved\, the artist committed to giving a substantial number of his wall drawings and his entire wall-drawing archive to the Yale University Art Gallery\, which already owned an extensive array of LeWitt’s art in multiple mediums. Realizing that the Gallery did not have enough space to install and maintain a large number of the artist’s wall drawings at any one time\, Reynolds suggested to LeWitt that MASS MoCA—with its expansive historic mill complex\, growing audience\, and history of realizing ambitious new works—might be interested in accommodating an extended retrospective. \nSituated at the center of MASS MoCA’s multi-building complex and featuring large banks of windows that open onto two flanking courtyards\, the structure appealed to LeWitt as an ideal site for a multi-floor installation of his work. In addition to the new interior walls\, which he designed in consultation with Bruner/Cott & Associates—MASS MoCA’s lead architectural firm—his specifications for the space included a plan that would leave nearly all of the existing exterior masonry walls and large windows intact\, providing direct side lighting and offering beautiful views to surrounding courtyards and the Berkshire mountains beyond. Bruner/Cott integrated the galleries into MASS MoCA’s existing plan by re-activating existing elevated connector-bridges and adding new ones\, and by creating a new three-story lightwell for vertical circulation and the admission of more light. \nSol LeWitt: A Wall Drawing Retrospective opened to the public on November 16\, 2008\, after nearly six months of intensive drafting and painting by a team comprising twenty-two senior and experienced assistants who worked with the artist over many years; thirty-three student interns from Yale University\, Williams College\, the Massachusetts College of Liberal Arts\, and fourteen other colleges and universities; and thirteen local artists and recent graduates and postgraduates from many of the nation’s leading studio-art programs. \n\nYou can download a PDF of the exhibition guide here. \nVisit our flickr page for shots of the installation in progress. \n  \nExhibition Catalog\nAs a complement to Sol LeWitt: A Wall Drawing Retrospective\, MASS MoCA and Yale University Press co-published Sol LeWitt: 100 Views\, a collection of 100 essays on the artist and his work. Contributors are drawn from a wide array of expertise and fields of specialization\, and include critics and scholars Lynne Cooke\, Chrissie Iles\, Lucy Lippard\, Saul Ostrow\, Ingrid Sischy\, and Robert Storr; and visual and performing artists John Baldessari\, Mel Bochner\, Lucinda Childs\, Chuck Close\, Steve Reich\, Matthew Ritchie\, and Dorothea Rockburne\, among many others. To order Sol LeWitt: 100 Views\, which includes 150 color plates\, visit Hardware: The MASS MoCA Store. A catalogue raisonné is in development with the Sol Lewitt estate and publishing partners. \nProject Funding\nTo date\, the Yale University Art Gallery and MASS MoCA have raised more than $10 million in funding for the project from an array of devoted board members and other notable arts patrons who are supportive of Sol LeWitt’s work. In December 2007\, Williams College announced a $1.5 million contribution to the project that will fund teaching exhibitions and public programs during the twenty-five years that the LeWitt wall-drawing retrospective is on view. \nSol LeWitt: A Wall Drawing Retrospective is a collaboration of MASS MoCA\, Yale University Art Gallery\, and the Williams College Museum of Art. \nThe 2021-2022 restoration of Sol LeWitt: A Wall Drawing Retrospective is made possible by the generous support of an anonymous donor. The exhibition’s ongoing care and conservation is made possible by Agnes Gund. \n
URL:https://massmoca.org/event/sol-lewitt-a-wall-drawing-retrospective/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Art,Current Exhibitions,Exhibition,Featured Exhibition,Ongoing Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/11/Sol-LeWitt-Partnership.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010839Z
LAST-MODIFIED:20181128T145009Z
UID:12210-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 289
DESCRIPTION: \nA 6-inch (15 cm) grid covering each of the four black walls. White lines to points on the grids. Fourth wall: twenty-four lines from the center\, twelve lines from the midpoint of each of the sides\, twelve lines from each corner. (The length of the lines and their placement are determined by the drafter.) (Detail: 4th wall only) \nJuly 1976 \nWhite crayon lines and black pencil grid on black wall \nWhitney Museum of American Art\, New York\, Purchase with funds from the Gilman Foundation\, Inc. 78.1.1-4 \nFirst Installation\nDetroit Institute of Arts\, Detroit; First installation (4th wall only): The Museum of Modern Art\, New York\, January 1978 \nFirst Drawn By\nJo Watanabe \nMASS MoCA Building 7\nGround Floor \nWall Drawing 289 was initially conceived as a four-wall drawing. The drawing consists entirely of white crayon lines drawn to points drawn on the wall in a six-inch pencil grid. Sol LeWitt chose to present only the fourth wall at MASS MoCA. This wall displays the composite of the instructions for each of the first three walls: 24 lines from the center\, 12 lines from the midpoint of each side\, and 12 lines from each corner. \nThis work belongs to a series of drawings\, first installed between 1973 and 1976\, which are often referred to as “location” drawings because the artist’s instructions guide the draftsmen to execute the drawing based on points\, or locations\, on the wall. In other words\, the instructions present a sort of drawing problem that the draftsmen must solve. Wall Drawing 289\, one of the last works in the “location” series\, differs from its predecessors in that LeWitt’’s instructions define the starting locations of the lines\, but not where they end (other than the stipulation that they end at a point on the grid.) \nBackstory\nEach of the lines in Wall Drawing 289 must end at a point created by the six-inch graphite grid that the draftsmen first draw on the wall\, but it is up to the draftsmen to determine at which point each line should end. To do this\, they use red string to stand in for the white lines. This allows them to step back and examine and alter the placement of a line before they draw it in crayon. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/8.mp4\n
URL:https://massmoca.org/event/walldrawing289/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/289-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010839Z
LAST-MODIFIED:20181128T145233Z
UID:12211-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1005
DESCRIPTION:Isometric form. \nDecember 2001 \nAcrylic paint \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nFundación PROA\, Buenos Aires \nFirst Drawn By\nIgnacio Amespil\, Cecilia de Arriba\, Veronica del Toro\, Tomas Fraccia\, Francisco Gomez\, Bruno Grisanti\, Favio Guadagna\, Walter Mantegazza\, Erik Martinut\, Barbara Mendez de Leo\, Lola Quiroz\, Anthony Sansotta\, Santiago Solda \nMASS MoCA Building 7\nThird Floor \nIn the first few years of the twenty-first century Sol LeWitt created many acrylic wall drawings which feature geometric configurations composed of brilliantly colored bars. Several of these works were first displayed in a 2001 exhibit at Fundación PROA in Buenos Aires. Shown together\, the primary and secondary colored bars seem to jut out from the contrasting backgrounds\, creating a sense of space and atmosphere. \nThe three-dimensionality of the bars in Wall Drawing 1005 and its contemporaries represents a continuation of the ideas that the artist explored in his ink isometric form wall drawings created between the 1980s and the early 1990s. Shapes drawn using isometric projection possess volume\, but exist in space that does not recede. Unlike the muted jewel-toned ink wash palette\, the bright acrylic hues of the later works make the forms appear to pop out from their backgrounds\, creating a visual tension between the flatness of the wall and the three-dimensionality of the form. \nBackstory\nBefore the draftsmen execute a wall drawing\, they must prepare the surface of the wall. Different types of drawings require different wall textures. For example\, it is preferable for crayon drawing walls to have an orange peel-like surface so that the crayon sticks to the wall in a specific way. Painted wall drawings\, such as Wall Drawing 1005\, on the other hand\, must be executed on a perfectly smooth wall. To create this\, the draftsmen paint several coats of primer and then a white top coat\, all of which they sand down until there are no remaining brushstrokes or irregularities. \n
URL:https://massmoca.org/event/walldrawing1005/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_1005.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010839Z
LAST-MODIFIED:20181128T145357Z
UID:12212-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 305
DESCRIPTION: \nThe location of one hundred random specific points. (The locations are determined by the drafters.) \nAugust 1977 \nBlack pencil and black crayon \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nArt & Architecture building\, Yale University\, New Haven \nFirst Drawn By\nJo Watanabe\, Sol LeWitt \nWall Drawing 305 is composed of one hundred random specific points that are determined by the draftsman. The points are random in that they may be placed anywhere on the wall. The draftsman uses Sol LeWitt’’s vocabulary and geometric lexicon to guide the mapping of the points. This lexicon includes the corners\, midpoints and center of each wall\, which serve as reference points that are connected and traversed by lines and arcs. The one hundred points are specific in that they are created at the meeting of the junctures of these formal elements. As the draftsman maps out each generated point\, he or she writes a description of how he or she arrived at that point next to it. This allows the viewers to trace the process of the placement of the points. \nWall Drawing 305 is one of a series of drawings in which LeWitt experimented with textual instructions that direct the draftsman to construct shapes on the wall. Called ‘location’ drawings\, these works are done in black pencil with geometric figures emphasized in crayon\, foregrounding the process of drawing as a problem-solving mechanism. \nBackstory\nWall Drawing 305\, like many of LeWitt’’s wall drawings\, calls for the random application of forms\, bringing up questions about how much the draftsmen should work to contrive that randomness. LeWitt’’s response to the conundrum is to encourage draftsmen “…not [to] think too much in some situations. The use of the idea of the random is meant to preclude the conscious placement of elements to form a pattern.”1 \n1 Andrea Miller Keller\, “Excerts from a Correspondence\, 1981-1983\,” Sol LeWitt Critical Texts\, AEIUO\, Incontri Internazionali D’Arte\, Rome\, Italy\, editing by Adachiara Zevi\, 1995. \n
URL:https://massmoca.org/event/walldrawing305/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/305-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010840Z
LAST-MODIFIED:20181128T145423Z
UID:12213-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 381
DESCRIPTION: \nA square divided horizontally and vertically into four equal parts\, one gray\, one yellow\, one red and one blue\, drawn with color and India ink washes. \nDecember 1982 \nIndia ink wash and color ink wash \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation \nJohn Weber Gallery\, New York \nFirst Drawn By \nAnthony Sansotta \nMASS MoCA Building 7\nGround Floor \nThe four colors in Wall Drawing 381 are arranged based on the system that Sol LeWitt would eventually codify for the organization of the four basic types of lines. The lines are organized in a square divided into four equal parts with vertical in the top left\, horizontal in the top right\, diagonal left in the bottom left\, and diagonal right in the bottom right. When LeWitt began using color pencil\, he did not assign specific colors to specific line directions\, but eventually this too was codified: vertical lines are drawn in gray pencil\, horizontal in yellow\, diagonal left in red\, and diagonal right in blue. The translation of this system to ink wash is typical of LeWitt’’s evolution. Throughout the 1980s the artist primarily explored the possibilities of India ink and color ink washes\, often using ink to reiterate the systems that he had used when working with pencil. \nBackstory \nAs in all of LeWitt’’s colored ink wash wall drawings at MASS MoCA\, each of the colors in Wall Drawing 381 is composed of six layers of ink\, which are applied with ink-soaked rags via two different methods. The draftsmen apply two of the ink layers by moving the rags in a wiping motion across the wall. The other four layers are applied using a technique that the draftsmen refer to as ‘booming’ or ‘boom booming.’ This technique involves crumpling up an ink-soaked rag and pounding the wall with the crumpled part. The booming process creates a slightly modulated\, textured surface. All six layers of ink must be applied at specific intervals which occur when the previous layers are still wet\, but not so wet that the application of the new layer will remove the previous layers. The draftsmen keep track of these intervals using charts where they record the application times of each layer. \n
URL:https://massmoca.org/event/walldrawing381/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_381.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010840Z
LAST-MODIFIED:20181128T145456Z
UID:12214-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 86
DESCRIPTION: \nTen thousand lines about 10 inches (25 cm) long\, covering the wall evenly. \nJune 1971 \nBlack pencil \nCollection of Henry S. McNeil     \nFirst Installation\nThe Bykert Gallery\, New York \nFirst Drawn By\nR. Holcomb\, Kazuko Miyamoto \nMASS MoCA Building 7\nGround Floor \nIn 1970\, Sol LeWitt further distilled the formal vocabulary he used in his wall drawings. Whereas bands of parallel lines characterized his earlier graphite wall drawings\, he later began to isolate the single line as a basic conveyance for his ideas. Additionally\, LeWitt relaxed the requirement of applying lines in only the four absolute directions\, fostering new relationships between his verbal instructions\, the performance of those instructions\, and the surface on which those instructions are performed. \nNoteworthy in Wall Drawing 86 is the disparity between the simplicity of the instructions and the seeming chaos they produce on the wall. The number of lines drawn here is derived from a traditional Eastern concept that ten thousand is a unit emblematic of all inconceivably large numbers. Lines are applied at the singular discretion of the draftsman\, who is instructed only to maintain the length of the lines and appearance of evenness across the surface of the wall. The even distribution is conditioned by the dimensions of the wall\, giving each iteration of the drawing a different level of density. Other aspects of the lines (their orientation\, how often they intersect each other\, etc.) are decided by the draftsman as the drawing progresses. The operation of restriction and flexibility results in a visual marriage between pattern and intuition. \n
URL:https://massmoca.org/event/walldrawing86/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_86.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010840Z
LAST-MODIFIED:20181128T145532Z
UID:12215-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 610
DESCRIPTION: \nIsometric figure with color ink washes superimposed. \nJune 1989 \nColor ink wash \nYale University Art Gallery\nGift of the LeWitt Collection\, Chester\, Connecticut\, in honor of Suzanne Hellmuth and Jock Reynolds \nFirst Installation \nFundacio Joan Miró\, Barcelona \nFirst Drawn By \nDavid Higginbotham\, Elizabeth Sacre \nMASS MoCA Building 7\nSecond Floor \nWall Drawing 610 was first drafted in the late 1980’s\, during the period of Sol LeWitt’’s career in which he was creating ink wash wall drawings featuring isometric forms. This staircase-like isometric figure implies volume\, canted as it is towards the viewer\, yet does not imply linear recession. The base and left-hand edge of the figure are parallel with the edges of the wall\, acknowledging flatness\, and the steps are angled\, revealing additional faces to the prism without implying depth. This uneven and non-illusionistic method of implying three-dimensionality has several precedents in art history\, such as the intuitive perspective used by Egyptian relief sculptors\, and the tilted perspective that appears in early Renaissance panel painting and frescoes. \nThis wall drawing is also an interesting example of LeWitt’’s technique of superimposing ink washes in order to create colors and tones. The background is in his primary red\, and the foremost panel on the figure is orange: equal parts red and yellow ink. The steps are composed of a series of parallelograms\, colored using different layers of ink washes. The specific color of each shape within the figure is indicated in the title for this wall drawing. In order to describe each tone\, LeWitt uses a system of letters to indicate the color of each layer and the order in which they are to be applied. For instance\, the orange panel is described as “R\, Y\, Y\, R.” Literally: ‘a layer of red ink\, two layers of yellow\, followed by a final layer of red.’ The ‘B’ in his instructions indicates blue ink\, and the ‘G’ indicates grey. \nBackstory \nThe formula for the ink washes has been changed recently to a mixture of acrylic paint and water\, resulting in a more vibrant set of primary colors than is in evidence in earlier installations of these ink drawings. The red background for Wall Drawing 610 calls for three layers of red\, one of the most saturated incidents of this hue. The result is reminiscent of a fresco after cleaning; for years the Brancacci Chapel in Florence had been described as an example of master fresco painter Masaccio’’s use of dense shadow and muted colors. A recent cleaning of the chapel\, however\, has revealed that the frescoes were actually executed in bright and luminous pastels. In this wall drawing\, the brightness of the coloration differs slightly from previous installations\, producing a fresh and exuberant comment on LeWitt’’s interest in tonality and hue. \n
URL:https://massmoca.org/event/walldrawing610/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_610.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010840Z
LAST-MODIFIED:20181128T145638Z
UID:12216-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 579
DESCRIPTION: \nThree concentric arches. The outside one is blue; the middle red; and the inside one is yellow. \nNovember 1988 \nColor ink wash \nPrivate collection\, New York \nFirst Installation\nSala 1\, Rome \nFirst Drawn By\nAndrea Marescalchi \nMASS MoCA Building 7\nSecond Floor \nThe original installation of Wall Drawing 579\, at Sala 1 in Rome\, Italy\, featured curved bands of color filling the space beneath an arch. In the installation at MASS MoCA\, the arch shape is drawn on a rectangular wall. While the drawing is positioned with respect to the wall’s particular shape and dimensions\, it is not as reliant or respondent to its architectural support as in the original installation. \nBackstory\nSol LeWitt was deeply involved with determining the layout of Building #7\, the site of this retrospective. The effect of his overseeing the selection and placement of works in the exhibit is to provide insight into the way he\, the artist\, thought of his own body of work. The placement of Wall Drawing 579 on a square wall\, for example\, can be further discussed in terms of the drawings nearby. Most interesting\, perhaps\, is its proximity to several wall drawings that deal with irregular grids (Wall Drawing 614\, Wall Drawing 766)\, revealing a tendency in LeWitt’’s practice to experiment with the non-logical side of the fundamental drafting techniques he emphasizes. \n
URL:https://massmoca.org/event/walldrawing579/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/579-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010840Z
LAST-MODIFIED:20181128T145710Z
UID:12217-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1261
DESCRIPTION: \nScribbles. (Yale) \nJuly 2008 \nGraphite \nCourtesy of the Estate of Sol LeWitt (Designated for Yale University Art Gallery) \nFirst Installation \nMASS MoCA \, North Adams\, MA \nFirst Drawn By \nTakeshi Arita\, Jennifer Chian\, Aran Jones\, Michael Benjamin Vedder \nMass MoCA Building 7\nThird Floor \nThroughout his career LeWitt generated complex structures using the simplest of artistic elements and gestures. In his final wall drawings\, the scribble served as the basic unit of his work. Wall Drawing 1261\, one of two scribble drawings making their debut at MASS MoCA\, consists of concentric rings drawn from dense layers of scribbles\, which radiate out from the center of the wall. Within each ring\, there are several gradations of tone\, made with progressively denser areas of markings. While other scribble drawings are realized using a more gradual change of tone over a larger expanse of wall\, here the different increments of scribbles are much closer together. Light and dark regions transition in a cadence that echoes the frenetic character of the graphite marks themselves. The drawing seems to reverberate and the expanding circles appear as if they might continue indefinitely\, breaking though the nine-foot square which contains them. \n
URL:https://massmoca.org/event/walldrawing1261/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_1261.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010840Z
LAST-MODIFIED:20181128T145729Z
UID:12218-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 16
DESCRIPTION: \nBands of lines 12 inches (30 cm) wide\, in three directions (vertical\, horizontal\, diagonal right) intersecting. \nSeptember 1969 \nBlack pencil \nCollection Michalke \nFirst Installation\nInstitute of Contemporary Art\, London \nFirst Drawn By\nJames Walker \nMASS MoCA Building 7\nGround Floor \nEarly in his career\, Sol LeWitt began to have others help execute his wall drawings. Wall Drawing 16\, for example\, was first drawn by James Walker. By allowing other draftsmen to realize his work according to his instructions and diagrams\, LeWitt addressed practical concerns such as the time-consuming nature of the drawings. More significantly\, however\, this choice articulated LeWitt’’s belief that the conception of the idea\, rather than its execution\, constitutes the art work. He was also rejecting the traditional importance assigned to the artist’s own hand. \nLeWitt executed the earliest wall drawings within a square\, usually four by four feet wide\, but by 1969 he was using the entire wall\, as evident in Wall Drawing 16. \n
URL:https://massmoca.org/event/walldrawing16/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/16-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010840Z
LAST-MODIFIED:20181128T145827Z
UID:12219-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 295
DESCRIPTION: \nSix white geometric figures (outlines) superimposed on a black wall. \nOctober 1976 \nWhite crayon on black wall \nLos Angeles County Museum of Art\, Purchased with matching funds from the National Endowment for the Arts and the Modern and Contemporary Art Council (M.76.103) \nFirst Installation\nClaire Copley Gallery\, Los Angeles \nFirst Drawn By\nChris D’Arcangelo\, Sol LeWitt \nMASS MoCA Building 7\nGround Floor \nBy the 1970s\, Sol LeWitt had expanded his formal vocabulary (originally just a series of parallel\, straight lines) to include geometric shapes. These were first limited to ‘primary shapes\,’ which he defined as circle\, square and triangle\, but he soon added ‘secondary shapes\,’ or rectangles\, trapezoids\, and parallelograms. Wall Drawing 295 depicts these six primary and secondary shapes. In the drawing the shapes are superimposed\, or layered\, within the square. This superimposition technique entered LeWitt’’s practice in his early line wall drawings; his wall drawings of the late 1960s and early 1970s consisted mostly of lines going in four basic directions (vertical\, horizontal\, diagonal left\, and diagonal right.) These four types of lines were often layered on top of each other\, allowing for more possibilities of line combinations and the creation of gradations in tone. In Wall Drawing 295\, the draftsmen layer the shapes within the square\, revealing structural commonalities. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/8.mp4\n
URL:https://massmoca.org/event/walldrawing295/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/289-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010840Z
LAST-MODIFIED:20181128T150302Z
UID:12220-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1260
DESCRIPTION: \nScribble: Square without a square. \nJuly 2008 \nGraphite \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation\nMASS MoCA \, North Adams\, MA \nFirst Drawn By\nTakeshi Arita\, Jennifer Chian\, Aran Jones\, Michael Benjamin Vedder \nMASS MoCA Building 7\nThird Floor \nWall Drawing 1260 is one of two drawings in the retrospective that have been installed for the first time at MASS MoCA. The drawing is part of a series\, begun by Sol LeWitt in 2005\, in which the draftsmen apply graphite to the walls using a scribbling technique. The scribbling occurs at six different densities\, which are indicated on the artist’’s diagrams and then mapped out in string on the surface of the wall. The gradations of scribble density produce a continuum of tone that implies three dimensions. The square without a square form\, in its shape and sheen\, resembles a metallic pipe. This hint at illusionism\, however\, is contradicted at the edges of the square: the densest and darkest scribble zone borders the absolute white of the wall\, exposing the flatness of the drawing in relation to its support. \nBackstory\nMany critics see the scribble drawings\, the last wall drawings of LeWitt’’s career\, as possessing significance beyond LeWitt’’s stated interests. The gradations seem to toy with ideas of recession and infinite space\, while the extremes between bright white and the dark pencil lines can be read as meditations on absolutes. In the end\, however\, these readings are resisted by others. For example\, Robert Storr places these late wall drawings in relation to their predecessors: “…these last drawings… issue from the same source as all that came before\, anticipating nothing\, but instead embodying a state of simultaneous presence and absence\, immediacy and immanence\, physicality and indeterminacy.”1 \n1‘Darkness Tangible.’ Robert Storr. Sol LeWitt: Scribble Wall Drawings. Pace Wildenstein. New York; 2007. \n
URL:https://massmoca.org/event/walldrawing1260/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/1260-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010840Z
LAST-MODIFIED:20181128T145942Z
UID:12221-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 880
DESCRIPTION: \nLoopy Doopy (orange and green). \nSeptember 1998 \nAcrylic paint \nAddison Gallery of American Art\, Andover\, Massachusetts; partial gift of the artist and partial museum purchase with funds from Mimi Won and anonymous donor. \nFirst Installation\nPaceWildenstein\, New York \nFirst Drawn By\nElizabeth Alderman\, Sachiko Cho\, Edy Ferguson\, Anders Felix Paux Hedberg\, Choichi Nishikawa\, Jim Prez\, Emily Ripley\, Mio Takashima \nMASS MoCA Building 7\nThird Floor \nWall Drawing 880 is one of several wall drawings subtitled Loopy Doopy\, which are based on drawings that Sol LeWitt made from taping two pencils together and twisting them across the paper to form an undulating pattern. The orange and green version of Loopy Doopy was first displayed alongside the black and white Loopy Doopy in an exhibit of new wall drawings at PaceWildenstein in 1998. For this exhibit it was executed on a 70-foot wall. \nThe Loopy Doopy series followed LeWitt’’s first painted wall drawings\, which mostly featured monochrome or two-toned areas of color divided by curvy lines. In comparison to these earlier painted wall drawings\, such as Wall Drawing 822 (also on display at MASS MoCA)\, the Loopy Doopy works appear much freer and more fluid in form. As in many of LeWitt’’s acrylic wall drawings\, the vibrant colors of Wall Drawing 880 bounce off of each other\, creating a vibrating optical effect. \nBackstory\nThe combination of orange and green in Wall Drawing 880 creates such an intense contrast that the effect is dizzying\, making it difficult for the draftsmen to execute the final touch-ups. For the bulk of the process only one color is visible at a time — the draftsmen apply the orange paint\, and then mask it off with paper and tape before applying the green paint. However\, for the touch-ups to the wall\, both colors are uncovered so that the draftsmen can work on the barriers between the colors. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/9.mp4\n
URL:https://massmoca.org/event/walldrawing880/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_880.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010840Z
LAST-MODIFIED:20201202T204111Z
UID:12222-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1185
DESCRIPTION: \nScribbles: Inverted curve (horizontal). \nOctober 2005 \nGraphite \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nGalleria Studio G7\, Bologna\, Italy \nFirst Drawn By\nAsmir Ademagic\, Rachela Abbate\, Marco Bertozzi\, Elisa Cancucci\, Alessandra Frisan\, Elena Latini\, Luca Lolli\,Viviana Longo\, Benny Mangone\, Juri Marsigli\, Maria Lucrezia Schiavarelli\, Anthony Sansotta\, Francesca Simeone\, Alessio Tugnoli\, Simone Vagnetti \nMASS MoCA Building 7\nThird Floor \nWall Drawing 1185 is one of three scribble drawings that were first designed for Galleria Studio G7 in Bologna. These three drawings — Scribbles: Curve; Scribbles: Inverted curve (vertical); and Scribbles: Inverted curve (horizontal) — were done in the scribble technique that LeWitt explored from 2005 to 2007. Although previous wall drawings called for a scribble-like application of pencil or crayon\, these recent scribble drawings differ in that they have gradations of tone created by varying densities of graphite. Following the artist’s diagram\, the draftsmen use string to plot out the tonal gradations\, from level one (the lightest tone) to level six (the darkest). \nThese recent drawings\, the artist’s culminating works\, may seem a departure from his rigorously ordered earlier work\, which emphasized the flat plane of the wall. The depth created by the tonalities in the scribble drawings has inspired comparisons to infinite space\, and invites reconsideration of LeWitt’’s earlier focus on the flatness of the image plane. In addition\, the graphite’s reflective sheen is suggestive of metal. However\, the repetitive nature of the scribble relates to LeWitt’’s lifelong interest in repetitive mark-making\, and the organic nature of the scribbles correlates with his later works that explored more free-form shapes. \nBackstory\nThe scribbling process produces graphite dust that easily adheres to painted walls. At MASS MoCA\, to prevent the dust from sticking to the nearby painted wall drawings\, draftsmen enclosed the walls designated for the scribble drawings using plastic sheets\, creating a sealed-in area in which they could work. \nCourtesy of Leo Koenig Inc. and Hall Collection Inc. \n\n
URL:https://massmoca.org/event/walldrawing1185/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_1185.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010840Z
LAST-MODIFIED:20181128T150025Z
UID:12223-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 46
DESCRIPTION: \nVertical lines\, not straight\, not touching\, covering the wall evenly. \nMay 1970 \nBlack pencil \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation \nYvon Lambert Gallery\, Paris \nFirst Drawn By \nSol LeWitt \nMASS MoCA Building 7\nGround Floor \nThis wall drawing is dedicated to sculptor Eva Hesse. Sol LeWitt and Hesse were close friends\, and LeWitt credits Hesse’’s aesthetic sensibilities with motivating his use of the ‘not straight’ line. This type of mark appears here for the first time\, in the drawing originally executed two days after Hesse’’s death. Subsequent drawings saw the use of not straight lines in four colors and in various combinations with straight lines\, broken lines and arcs. \nThe drawing is often done by a single draftsman in order to achieve a consistency in line density and thickness. The process of drafting Wall Drawing 46 begins with stretching vertical plumb lines in string over the wall to help the draftsman maintain the essential verticality of the lines. Then\, the draftsman begins by making longer marks all over the wall\, filling in the available spaces with shorter lines until the wall is evenly covered. \nBackstory \nNot explicitly involved with the retrospective\, Jo Watanabe\, Sol LeWitt’’s long-time associate and the current director of the print shop for PaceWildenstein in New York\, agreed to execute Wall Drawing 46 at MASS MoCA as a tribute to LeWitt. This wall drawing is often referred to as LeWitt’’s favorite\, and certainly connotes a personal significance to the artist in its dedication. \n
URL:https://massmoca.org/event/walldrawing46/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_46.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010841Z
LAST-MODIFIED:20181128T150312Z
UID:12224-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 138
DESCRIPTION: \nCircles and arcs from the midpoints of four sides. (ACG 59) \nJuly 1972 \nBlack pencil \nCourtesy of the Estate of Sol LeWitt \nFirst Installation \nMTL Gallery\, Brussels \nFirst Drawn By \nP. de Jong\, Sol LeWitt\, F. Spillemackers\, L. Verdeeck \nMASS MoCA Building 7\nGround Floor \nIn the early 1970s Sol LeWitt expanded his vocabulary of straight\, parallel pencil to include arcs and circles. In 1972\, he created a book\, Arcs\, Circles\, and Grids\, for the Kunsthalle Bern in Switzerland\, which contained pen and ink drawings depicting all possible combinations of the three elements in the title. These combinations take into account both the type of line (arc\, circle\, grid) and all the possible points on the page from which an arc can emanate (the four corners\, and the four midpoints of the sides.) Many of the combinations in the book were also turned into wall drawings both before and after the book’’s publication. Wall Drawing 138\, for instance\, was created from Arcs\, Circles\, and Grids combination 59. This is indicated in the subtitle of the wall drawing. While drawing arcs and circles on paper was not a particularly challenging task\, drawing them on large walls necessitated the creation of a giant compass with holes drilled into it at intervals\, indicating the placement of the arcs and circles. On both paper and the wall\, the overlapping of arcs and circles produces a myriad of optical patterns. \n
URL:https://massmoca.org/event/walldrawing138/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_138.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010841Z
LAST-MODIFIED:20181128T150323Z
UID:12225-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 901
DESCRIPTION: \nColor bands and black blob. The wall is divided vertically into six equal bands; red; yellow; blue; orange; purple; green. In the center is a black glossy blob. \nMay 1999 \nAcrylic paint \nCourtesy of the Estate of Sol LeWitt (Designated for Yale University Art Gallery) \nFirst Installation\nInstitute of Contemporary Art\, Philadelphia \nFirst Drawn By\nElyce Abrams\, David Dempewolf\, Joy Feasley\, Meghan Ganser\, Michael Gibbons\, John Gibbons\, Chris Hensel\, John Hogan\, Beth Leatherman\, Tristin Lowe\, Stephen Malmed\, Sarah McEneaney\, Matthew Pruden\, Scott Rigby\, Paul Swenbeck\, Clint Takeda \nMASS MoCA Building 7\nThird Floor \nFor an exhibit at the ICA Philadelphia entitled “Sol LeWitt: New Work (Black and Colors)\, LeWitt designed four new wall drawings\, each featuring stripes of all the primary and secondary colors and irregular black forms. LeWitt referred to these forms as “blobs\,” a term that recalls science fiction or comic books. Many art historians and critics also link the blob form to Henri Matisse’’s cut-outs. Although these organically shaped forms appear to be uncharacteristic for LeWitt\, they epitomize his belief that “to be truly objective one cannot rule anything out. All possibilities include all possibilities without pre-judgement or post-judgement.”[1]\nThe blob wall drawings also exemplify another change in LeWitt’’s wall drawings: the introduction of secondary colors (orange\, violet\, and green) into LeWitt’’s color palette\, which had been previously limited to gray\, yellow\, red\, and blue. The artist’s expansion of his color palette occurred when he began to use paint rather than ink washes. In the latter medium he had worked only in the four basic colors used for printing\, layering them to create a variety of hues. His adoption of the three secondary colors was based on the hues created by the secondary colors that the ink layering produced. \nThe contrast between the vertical colored stripes and the amorphous blob in each of the wall drawings is intensified by LeWitt’’s use of matte and glossy varnishes. In Wall Drawing 901\, for instance\, the colors are flat while the blob is glossy. \n[1] Quoted from Andrea Miller-Keller\, “Excerpts from a Correspondence\, 1981-1983\,” in Susanna Singer\, et al.\, Sol LeWitt Wall Drawings 1968-1984 (Amsterdam: Stedelijk Museum\, 1984)\, p.19. \nBackstory\nThe ideas explored by LeWitt in his wall drawings\, works on paper\, and three-dimensional structures often cross over and overlap. For example\, the fiberglass Splotch structures that LeWitt created in the early 2000s grew out of the blob wall drawings. To create the structures\, LeWitt drew a two-dimensional topography on top of a blob form\, and then had a fabricator translate this design into a three-dimensional sculpture. The resulting sculptures appear as if the blob has been laid on the ground and is growing up from the earth in peaks. \n
URL:https://massmoca.org/event/walldrawing901/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_901-1081.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010841Z
LAST-MODIFIED:20181128T150334Z
UID:12226-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 47
DESCRIPTION: \nA wall divided into fifteen equal parts\, each with a different line direction\, and all combinations. \nJune 1970 \nBlack pencil \nPrivate collection \nFirst Installation\nPrivate residence \nFirst Drawn By\nKazuko Miyamoto \nMASS MoCA Building 7\nGround Floor \nWall Drawing 47 is emblematic of Sol LeWitt’’s systematic exploration of lines going in four basic directions: vertical\, horizontal\, diagonal left\, and diagonal right. The drawing presents the four absolute lines layered sequentially\, thus presenting their single\, double\, triple\, and quadruple combinations. As in Wall Drawing 56\, also on display at MASS MoCA\, this pencil drawing shows increasingly darker gradations of tone as the piece is read from left to right. \n
URL:https://massmoca.org/event/walldrawing47/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_47.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010841Z
LAST-MODIFIED:20181128T150345Z
UID:12227-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 340
DESCRIPTION: \nSix-part drawing. The wall is divided horizontally and vertically into six equal parts. 1st part: On red\, blue horizontal parallel lines\, and in the center\, a circle within which are yellow vertical parallel lines; 2nd part: On yellow\, red horizontal parallel lines\, and in the center\, a square within which are blue vertical parallel lines; 3rd part: On blue\, yellow horizontal parallel lines\, and in the center\, a triangle within which are red vertical parallel lines; 4th part: On red\, yellow horizontal parallel lines\, and in the center\, a rectangle within which are blue vertical parallel lines; 5th part: On yellow\, blue horizontal parallel lines\, and in the center\, a trapezoid within which are red vertical parallel lines; 6th part: On blue\, red horizontal parallel lines\, and in the center\, a parallelogram within which are yellow vertical parallel lines. The horizontal lines do not enter the figures. \nJuly 1980 \nRed\, yellow\, blue crayon on red\, yellow and blue wall \nCarnegie Museum of Art\, Pittsburgh; Purchase: gift of Carol R. Brown and Family and A.W. Mellon Acquisition Endowment Fund\, 84.79.1 \nFirst Installation \nROSC\, Dublin \nFirst Drawn By \nJo Watanabe \nMASS MoCA Building 7\nSecond Floor \nSol LeWitt created Wall Drawing 340 during a period of experimentation with basic geometric shapes. His formal vocabulary included what the artist referred to as ‘primary’ shapes: circle\, square\, triangle\, and ‘secondary’ shapes: parallelogram\, trapezoid\, and rectangle. While earlier drawings\, such as Wall Drawing 295 (also on display at MASS MoCA) depict these shapes in outline only\, in Wall Drawing 340 the shapes are delineated by straight\, parallel\, horizontal\, and vertical lines (the most basic elements of LeWitt’’s vocabulary). Later\, the geometric forms became even bolder as LeWitt began entirely filling them in with solid colors. \nAs LeWitt’’s formal and material vocabularies grew and changed\, his use of color became bolder. His earliest wall drawings\, which were drawn in graphite and colored pencil on white wall\, appear faint and ethereal. In the mid-1970s\, he started to create drawings with primary color and black backgrounds. The draftsmen drew on the colored walls using white crayon or chalk. By 1980\, when LeWitt created Wall Drawing 340\, he had begun using primary colored crayons. The drawing’s instructions call for the draftsmen to draw in crayon on top of red\, yellow\, and blue backgrounds. This process of layering one primary color over another creates secondary hues. In the drawing LeWitt depicts all possible combinations of primary color crayon over different primary color backgrounds. \nBackstory \nThe crayon wall drawings are executed on walls with an orange peel-like texture\, which allows the crayon to stick to the wall. It only adheres to the raised parts of the surface; thus the light shines through the crayon\, hitting the surface of the wall and revealing its texture. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/4.mp4\n
URL:https://massmoca.org/event/walldrawing340/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_340.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010841Z
LAST-MODIFIED:20181128T150358Z
UID:12228-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 413
DESCRIPTION: \nDrawing Series IV (A) with color ink washes. (24 drawings.) \nMarch 1984 \nColor ink wash \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation\nModerna Museet\, Stockholm \nFirst Drawn By\nDavid Higginbotham\, Jo Watanabe \nMASS MoCA Building 7\nSecond Floor \nIn the early 1980s\, Sol LeWitt began to use India ink and colored ink washes\, which are applied to walls with soft rags\, a technique that creates jewel-tone colors and gives the works a fresco-like quality. LeWitt frequently applied the same systems to this new medium that he had used when working with pencil. He assigned gray\, yellow\, red\, and blue ink washes to stand in for the four basic types of line; gray ink wash took the place of vertical lines\, yellow replaced horizontal\, red replaced diagonal left to right lines\, and blue was used for diagonal right to left. \nIn Wall Drawing 413\, LeWitt executed his Drawing Series IV using ink. Between 1969 and 1970\, he created four drawing series on paper. In each series he applied a different system of change to each of twenty-four possible combinations of a square divided into four equal parts\, each containing one of the four basic types of lines LeWitt used. The result is four possible permutations for each of the twenty-four original units\, which are presented in a grid of twenty-four sets of four squares\, each divided into four equal parts. In Drawing Series IV\, LeWitt used the ‘Cross Reverse’ method of change\, in which the parts of each of the original units are crossed and reversed. When drawn on the wall in ink\, the irregular\, colorful patterns made by these permutations become boldly evident. At MASS MoCA\, Wall Drawing 413 is displayed across from Wall Drawing 414\, a gray iteration of the same drawing series. \n
URL:https://massmoca.org/event/walldrawing413/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/413-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010841Z
LAST-MODIFIED:20181128T150428Z
UID:12229-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 51
DESCRIPTION: \nAll architectural points connected by straight lines. \nJune 1970 \nBlue snap lines \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation \nSperone Gallery\, Turin\, Italy and Museo di Torino\, Turin\, Italy \nFirst Drawn By \nP. Giacchi\, A. Giamasco\, G. Mosca \nMASS MoCA Building 7\nGround Floor \nWall Drawing 51 was first installed in 1970 in Turin at both the Museo di Torino and the Sperone Gallery. Although on display simultaneously\, the site-specific nature of this drawing means that each installation is a unique version of the work. The content of the work rests entirely on the pre-existing space and was an indication of Sol LeWitt’’s interest in more directly engaging the architectural context of his work. \nLeWitt’’s instructions for Wall Drawing 51 dictate\, “”All architectural points connected by straight lines.”” Using the simplest and most technically precise means available\, Wall Drawing 51 comprises hundreds of blue lines of varying length stretching from one architectural detail to another\, including door frames\, columns\, fire alarms\, etc. Employing a chalk snap line\, a contractor’’s tool that is used to create straight lines on flat surfaces\, this drawing focuses the viewer’s attention on the architecture of the space. Each corner on the wall is connected to any and all surrounding points with a straight chalk line. These lines make a complex web of marks that move the eye back and forth across the wall\, highlighting\, for instance\, an electrical socket’’s relationship to a door frame\, an air duct’s relationship to an outlet. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/20.mp4\n
URL:https://massmoca.org/event/walldrawing51/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_51.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010841Z
LAST-MODIFIED:20181128T150437Z
UID:12230-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 396
DESCRIPTION: \nA black five-pointed star\, a yellow six-pointed star\, a red seven-pointed star\, and a blue eight-pointed star\, drawn in color and India ink washes. \nMay 1983 \nIndia ink wash and color ink wash \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation\nAccademia de Belle Arti\, Perugia \nFirst Drawn By\nOriano Baldelli\, Alain Bolzan\, Luca Constantini\, Eduard Winklhofer \nMASS MoCA Building 7\nSecond Floor \nGeometric shapes began to appear in outline in Sol LeWitt’’s wall drawings as early as 1975\, but it was not until the 1980s that the artist began to draw solid geometric shapes\, such as the stars in Wall Drawing 396. The stars are executed in ink\, a medium that LeWitt had recently adopted. Shapes executed in ink were much bolder and more saturated than those drawn in crayon\, the medium that LeWitt had previously used. \nThis drawing\, an example of LeWitt’’s early experimentation with the star shape\, consists of a series of stars\, each with one more point than the last. The artist defines stars by the geometry of the circle; each point of a star touches the circumference of a circle. Within the circle the draftsmen construct the star using geometric formulae. The heptagon\, or seven-sided\, shape in Wall Drawing 396 is problematic for the draftsmen in that it is composed of all irrational angles. These angles are difficult to construct with a ruler and compass — which LeWitt’’s draftsmen usually use — because of the approximation that they necessitate. \n
URL:https://massmoca.org/event/walldrawing396/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/396-386.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010841Z
LAST-MODIFIED:20181128T150448Z
UID:12231-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 821A
DESCRIPTION: \nA white square divided horizontally and vertically into four equal parts\, each with a different direction of alternating flat and glossy bands. \nMarch 2007 \nAcrylic paint \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation\nSean Kelly Gallery\, New York \nFirst Drawn By\nJohn Hogan \nMASS MoCA Building 7\nThird Floor \nWall Drawing 821A was created for “Pure”\, an exhibit of works that conceptually and formally investigate the color white. By alternating flat and glossy bands of white acrylic paint\, Sol LeWitt subtly explored different qualities of the color. \nThe wall drawing is a modification of Wall Drawing 821\, which depicts the same pattern\, but in black paint. Wall Drawing 821 was created for a 1997 exhibit at Ace Gallery in which LeWitt debuted wall drawings done in paint. All of the wall drawings in this exhibit were monochrome and in many LeWitt explored different textures of paint through the use of varnish. Wall Drawing 821 is also on view at MASS MoCA. \nBackstory\nLeWitt’’s wall drawings are impermanent by design—: they can be executed and then easily painted over and executed at another location. At MASS MoCA\, however\, the wall drawings will be on display for a twenty-five year period. Therefore the execution of some of the drawings\, including Wall Drawing 821A\, has to be slightly altered in order to ensure that the drawing will endure the long display period. In previous locations the draftsmen executing Wall Drawing 821A have painted the entire surface of the wall drawing with matte white paint and then applied glossy varnish to the designated bands. However\, at MASS MoCA\, both the matte and glossy bands must be varnished to prevent the fading of the white paint. Thus the draftsmen must first paint and varnish the matte bands\, and then tape over them and paint and varnish the glossy bands. \n
URL:https://massmoca.org/event/walldrawing821a/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/detail-full-width-slw-white.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010841Z
LAST-MODIFIED:20181128T150501Z
UID:12232-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 238
DESCRIPTION: \nThe location of a parallelogram. \nJune 1974 \nBlack pencil and black crayon \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation \nGalleria Sperone\, Turin \nFirst Drawn By \nSol LeWitt \nMASS MoCA Building 7\nGround Floor \nThis wall drawing\, like The location of a trapezoid\, is an example of the location drawing series in which Sol LeWitt explores possible relationships between textual description and physical drafting. The text that directs the construction appears on the wall beside the figure\, displaying both the puzzle and the solution worked out by the draftsman. \nThe juxtaposition of text and image has garnered comparison between LeWitt’s location drawings and the concrete poetry that emerged in Europe and South America in the 1950’s. This poetic practice was involved with attempting to convey more immediate messages by transforming the written word into shapes that reflected meaning or structure\, thereby transposing the written artwork into a more visual artwork. Sol LeWitt’s interest in the relationship between text and image is\, conversely\, an expression of his valuation of the idea over the object. The presence of the text in these location drawings imbues the physical wall drawing with a verbal\, or less physical\, quality that moves it into the realm of the conceptual rather than into the realm of the actualized. \nBackstory \nThe solution\, the final wall drawing\, is a product of ‘figuring out’ both mentally and physically\, an exercise both in geometry and in artistry. The interaction between textual instruction and physical drawing is so like a puzzle that has to be worked out\, that draftsmen practice the constructions of the figures on paper\, scaled to the dimensions of the wall. \n
URL:https://massmoca.org/event/walldrawing238/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_237-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010841Z
LAST-MODIFIED:20181128T150526Z
UID:12233-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 822
DESCRIPTION: \nA wall divided horizontally by a curvy line. The top is flat black; the bottom is glossy black. \nApril 1997 \nAcrylic Paint \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nAce Gallery\, New York \nFirst Drawn By\nArtistides Dé Leon\, Sachiko Cho\, Derek Edwards\, Naomi Fox\, Henry Levine\, Sunhee Lim\, Jason Livingston\, Emil Memon\, Travis Molkenbur\, Caroline Rothwell \nMASS MoCA Building 7\nThird Floor \nWall Drawing 822 was first created for a 1997 exhibit at the Ace Gallery at which Sol LeWitt executed wall drawings in paint for the first time. The works shown were monochrome murals\, few of which contained the lines and geometric shapes that dominated LeWitt’’s earlier works. In Wall Drawing 822 the artist introduced a new form to his vocabulary – an undulating line that divides the wall in half horizontally. The two halves are distinguished by different finishes: one matte and the other glossy. The draftsmen achieved the glossy finish by applying a shiny varnish over the black paint. \nBackstory\nTo execute the curvy line\, the draftsmen first create a grid out of string. The grid\, which includes a horizontal line that runs through the center of the wall\, acts as a guide to show the draftsmen where to plot various points along the wave. Once plotted\, the draftsmen connect these points using a flexible foam stick as a guide. The stick bends to create an even curve\, which is traced. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/13.mp4\n
URL:https://massmoca.org/event/walldrawing822/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_822-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010842Z
LAST-MODIFIED:20181128T150603Z
UID:12235-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 684A
DESCRIPTION: \nSquares bordered and divided horizontally and vertically into four equal squares\, each with bands in one of four directions. \nJune 1999 \nColor ink wash \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nGalerie Franck + Schulte\, Berlin \nFirst Drawn By\nFransje Killaars\, Roy Villevoye \nMASS MoCA Building 7\nSecond Floor \nSol LeWitt’’s earliest wall drawings utilize lines in four directions (vertical\, horizontal\, diagonal left\, and diagonal right) drawn in graphite sticks and sometimes yellow\, red\, and blue colored pencil. When LeWitt began using ink washes in 1983\, he frequently reiterated these patterns of parallel lines\, replacing the fine graphite marks with thicker\, bolder bands of ink alternating with bands of white wall. Later LeWitt often eliminated the white spaces all together\, filling all the bands with saturated color\, as seen in Wall Drawing 684A. \nAs LeWitt did with the pencil drawings\, he limited his ink palette to gray\, yellow\, red\, and blue and frequently layered or superimposed the four colors. While the superimposed pencil creates very faint variations in hue\, the ink layers produce a broad color palette of rich\, gem-like colors. The artist quickly expanded his palette even further by experimenting with multiple layers of the same color. This layering technique is often compared to composing – the four basic colors are like notes that can be combined in many ways\, resulting in a multitude of different melodies. Wall Drawing 684A demonstrates the range of hues that LeWitt’’s instructions can produce. \n
URL:https://massmoca.org/event/walldrawing684a/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/684A-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010842Z
LAST-MODIFIED:20181128T150624Z
UID:12236-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1171
DESCRIPTION: \nFive degrees of scribbles: A cube without a cube; A cube without a corner. \nAugust 2005 \nBlack pencil \nCollection of Arne and Milly Glimcher \nFirst Installation\nGlimcher Residence\, East Hampton\, New York \nFirst Drawn By\nAnthony Sansotta\, Roland Lusk \nMASS MoCA Building 7\nThird Floor \nIn the early 1980s\, Sol LeWitt began to play with isometric drafting methods\, in which a three-dimensional object is represented perspectivally in a two-dimensional drawing. Wall Drawing 1171 depicts two variations of the cube: the “cube without a cube” and the “cube without a corner.” \nFirst executed in August 2005\, Wall Drawing 1171 is part of a series of “scribbled” wall drawings that LeWitt began that year. In this series\, LeWitt returns to graphite\, the medium of his early wall drawings\, and abandons color\, which had been a primary aspect of his work since the 1980s. The loose\, irregular scribbles in five degrees of density are encaged in the rigid\, geometric cubes\, striking a balance between chaos and control. The illusionism here is complicated — the isometric perspective does not use vanishing points\, so there is no recession of space. Thus\, LeWitt is able to show volume without contradicting the flatness of the wall. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/19.mp4\n
URL:https://massmoca.org/event/walldrawing1171/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/1171-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010842Z
LAST-MODIFIED:20181128T150640Z
UID:12237-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 821
DESCRIPTION: \nA black square divided horizontally and vertically into four equal parts\, each with a different direction of alternating flat and glossy bands. \nApril 1997 \nAcrylic paint \nThe Art Institute of Chicago\, Through prior gifts of Judith Neisser and Mary and Leigh Block; Norman Waite Harris Purchase Fund\, 2006.168 \nFirst Installation\nAce Gallery\, New York \nFirst Drawn By\nArtistides Dé Leon\, Sachiko Cho\, Derek Edwards\, Naomi Fox\, Henry Levine\, Sunhee Lim\, Jason Livingston\, Emil Memon\, Travis Molkenbur\, Caroline Rothwell \nMASS MoCA Building 7\nThird Floor \nWall Drawing 821 was created for an exhibit of new work by Sol LeWitt at the Ace Gallery in 1997. This exhibit marked the first time that LeWitt executed wall drawings in paint. Like Wall Drawing 821\, all of the drawings in this exhibit were monochrome\, and in many LeWitt used varnish to create variations in the surface of the paint. \nWhile the medium used to create Wall Drawing 821 represents a major departure from past wall drawings\, the formal content of the work is a continuation of previous ideas. In the drawing LeWitt continued his exploration of lines going in the four basic directions — vertical\, horizontal\, diagonal left\, and diagonal right. This exploration began in the late 1960s in his early drawing series and first wall drawings (which featured different combinations of the four basic types of lines) and continued into LeWitt’’s ink wall drawings of the 1980s and early 1990s\, in which LeWitt began to use wider bands instead of lines. \nBackstory\nWall Drawing 821\, like many of LeWitt’’s earliest painted wall drawings\, was originally executed in latex paint. At MASS MoCA\, however\, the wall drawing is in acrylic\, which the LeWitt studio now uses for all painted wall drawings. \n
URL:https://massmoca.org/event/walldrawing821/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/detail-full-width-slw-black-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010842Z
LAST-MODIFIED:20181128T150654Z
UID:12238-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 87
DESCRIPTION: \nA square divided horizontally and vertically into four equal parts\, each with lines and colors in four directions superimposed progressively. \nJune 1971 \nColored pencil \nGlenstone\, Potomac\, MD \nFirst Installation \nLeWitt residence\, New York \nFirst Drawn By \nSol LeWitt \nMASS MoCA Building 7\nGround Floor \nWall Drawing 87 was first installed by Sol LeWitt in his own home in 1971. Like many of the wall drawings from this time\, the work consists of a system of parallel lines drawn on a white wall in four directions (vertical\, horizontal\, diagonal left\, and diagonal right.) In this case\, the draftsman uses colored pencil\, and superimposes the lines\, or layers them progressively\, producing variations in hue. LeWitt had created a black pencil iteration of this superimposed system\, Wall Drawing 56\, the previous year. \nBackstory \nOne of the challenges that the draftsmen working with colored pencil face is that the different color leads possess varying strengths. For example\, the yellow lead is very weak\, so it bends or snaps easily. Thus\, draftsmen working with yellow must be careful not to bear down too hard when drawing lines on the wall. \n
URL:https://massmoca.org/event/walldrawing87/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_87.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010842Z
LAST-MODIFIED:20181128T150706Z
UID:12239-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 164
DESCRIPTION: \nA black outlined square with a red horizontal line centered on the axis between the midpoint of the left side and the midpoint of the right side and a red diagonal line centered on the axis between the lower left and upper right corners. \nApril 1973 \nRed and black crayon \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nMuseum of Modern Art\, Oxford \nFirst Drawn By\nSol LeWitt\, Nicholas Logsdail \nMASS MoCA Building 7\nGround Floor \nWall Drawing 164 shows an artistic interest in the geometry of the wall\, in geometric point-finding\, and in the potential for communicating an image through text-based instruction. It belongs to a series of drawings (that includes Wall Drawing 154\, Wall Drawing 159\, and Wall Drawing 160\, all on display at MASS MoCA) that explore the various results achieved by drawing straight lines to and from nine easily defined points: the corners of the square\, the midpoints of each side\, and the center. By using these elemental positions on the wall\, Sol LeWitt removes subjective decision-making from the compositions. The series of square and line drawings sets the vocabulary of construction for subsequent ‘location drawings’ such as Wall Drawing 238\, Wall Drawing 274\, and Wall Drawing 305\, also on view at MASS MoCA. \n
URL:https://massmoca.org/event/walldrawing164/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/detail-page-half-width-164.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010842Z
LAST-MODIFIED:20181128T150721Z
UID:12240-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 274
DESCRIPTION: \nThe location of six geometric figures. (The specific locations are determined by the drafter.) \nSeptember 1975 \nBlack pencil and black crayon \nThe Art Institute of Chicago\, Through prior gifts of Judith Neisser and Mary and Leigh Block; Norman Waite Harris Purchase Fund\, 2006.166 \nFirst Installation\nGentofte Kommunes Kunstbibliotek\, Copenhagen \nFirst Drawn By\nSteingrim Laursen\, Sol LeWitt \nMASS MoCA Building 7\nGround Floor \nThis work belongs to a series of drawings in which Sol LeWitt experimented with textual instructions that direct the draftsman to construct shapes on the wall. Called ‘location’ drawings\, these works are done in black pencil with geometric figures emphasized in crayon\, foregrounding the process of drawing as a problem-solving mechanism. \nWall Drawing 274 differs from other location drawings in that LeWitt does not explicitly prescribe the placement of the six shapes. Unlike The location of a trapezoid or The location of a parallelogram\, both of which appear nearby\, it is up to the draftsman installing the piece to determine where the shapes will be placed on the wall. The draftsman must be familiar with LeWitt’’s linguistic patterns as well as his drafting methods in order to produce a drawing that fits with the rest of LeWitt’’s body of work. \nPrimarily\, the draftsman must be aware of LeWitt’’s emphasis on essentials. He thought of six figures as fundamental to drawing: the circle\, square\, triangle\, rectangle\, trapezoid\, and parallelogram\, and had an interest in nine basic points on each wall: each corner\, the midpoint of each side\, and the center. The six shapes in this drawing are defined according to the ways in which they can be constructed using lines drawn from these points. The figures take shape at the intersections of these lines\, and it is the draftsman’’s challenge to determine a place for each figure that is visually appealing\, while retaining the rigor and precision of LeWitt’’s working method. \nBackstory\nFor the benefit of both the draftsman and the viewer interested in decoding the process by which this drawing was created\, every line on the wall has been labeled according to its function in determining the location of the shapes. Lines that contributed to the definition of the circle\, for instance\, are marked with a circle followed by two numerals that further describe the line’’s role in the drawing. For example\, the line that was the third line in the first group of lines that were drawn to find the location of the circle would be labeled with a note like this:\nO31\nIn this way\, the process of drawing\, the act of figuring out and defining the shapes\, becomes apparent\, visible as an interaction that unfolds both through geometric conception and physical action. \n
URL:https://massmoca.org/event/walldrawing274/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/274-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010842Z
LAST-MODIFIED:20181128T150737Z
UID:12241-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 725A
DESCRIPTION: \nOn a blue wall\, a black square within a white border. \nApril 1993 \nIndia ink\, color ink wash\, gouache \nYale University Art Gallery\, Katharine Ordway Fund \nFirst Installation\nAddison Gallery of American Art\, Phillips Academy\, Andover\, Massachusetts \nFirst Drawn By\nSachiko Cho\, Leslie Maloney\, Shawn Perry\, Anthony Sansotta\, Philip Sirois \nMASS MoCA Building 7\nSecond Floor \nOriginally paired with its red counterpart\, the blue detail of Wall Drawing 725A references some of Sol LeWitt’’s earliest serial pieces. These wall structures\, appearing first in the early 1960s\, consisted of rectangular canvases painted in an elemental color and wood blocks painted in contrasting or complementary hues. The artist strived to conflate the structure’s material topography with the perceptual obtrusions and recessions of the color fields. \nThough LeWitt’’s wall drawings reject physical depth\, Wall Drawing 725A implies dimensionality through the same color relationships used in the wall structures. The artist played with the uniformity of the wall’’s surface\, inviting the viewer to read the successive squares as discrete layers or frames. As such\, the squares take on negative and positive spatial qualities: the white border springs forward\, circumscribing a window-like penetration in the center. \n
URL:https://massmoca.org/event/walldrawing725a/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/583-H-F-584-H-725.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010842Z
LAST-MODIFIED:20181128T150751Z
UID:12242-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 237
DESCRIPTION: \nThe location of a trapezoid. \nJune 1974 \nBlack pencil and black crayon \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nGalleria Sperone\, Turin \nFirst Drawn By\nSol LeWitt \nMASS MoCA Building 7\nGround Floor \nOne of the six basic figures in Sol LeWitt’s vocabulary\, the trapezoid in Wall Drawing 237 is determined using the artist’s essential language of geometry\, utilizing midpoints\, corners and the center of the wall. This is an example of a location drawing in which the instructions provided by LeWitt are specific\, limiting the range of interpretation on the part of the draftsman. Any differences in the installation are due to differences between walls on which the piece is being drawn. Though the instructions are specifically worded\, the process of this drawing is relational to the dimensions of the architectural space that it occupies\, and so the resulting trapezoid will fluctuate. \nThe instructions for this drawing form part of the drawing itself\, appearing on the wall with the geometric figure. The inclusion of the text in the final product indicates LeWitt’s interest in making his geometric construction process transparent and accessible to the viewer. An interested viewer can trace the evolution of the wall drawing from the verbal concept\, represented by the text\, through the lines and arcs of construction\, to the appearance of the actual figure on the wall. \nBackstory\nThough the text creates an important visual and conceptual component of the drawing\, it is meant to appear as integrated with the other marks on the wall. The draftsman responsible for the drawing writes the verbal instructions in all capital letters in order to maintain orderliness in the handwriting\, and to minimize expressiveness in the appearance of the letters. Though the letters are regulated and as nondescript as the draftsman can make them\, there are still variations between drawings in this show\, indicating the work of different draftsmen. \nThis style of capitalized instructions or titles is reminiscent of the fonts and handwriting techniques used by architects when making notations on plans and drawings. This recalls Sol LeWitt’s early work at I. M. Pei’s architectural firm\, an early job that gave him the vocabulary of the artist as conceptualizer. As an architect designs buildings that others erect\, so LeWitt drafts diagrams and instructions for others to execute. \n
URL:https://massmoca.org/event/walldrawing237/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/238-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010842Z
LAST-MODIFIED:20181128T152411Z
UID:12243-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1094A
DESCRIPTION: \nProjecting form. \nJuly 2003 \nColored pencil \nCourtesy of the Estate of Sol LeWitt \nFirst Installation \nPaceWildenstein\, New York \nFirst Drawn By \nAnthony Sansotta\, Jason Rulnick \nMASS MoCA Building 7\nGround Floor \nClosely related to Wall Drawing 1094\, previously on display* at MASS MoCA on the third floor\, Wall Drawing 1094A was first completed in the summer of 2003 at PaceWildenstein Gallery in New York. As in Wall Drawing 1094\, this drawing has a central isometric rectangular form. The shape appears to recede upwards in an illusion of three-dimensionality\, but is actually rendered in a non-perspectival manner. \nThe distinction between Wall Drawing 1094 and Wall Drawing 1094A is the type of line used to make the work. Whereas Wall Drawing 1094 is composed of scribbled lines\, Wall Drawing 1094A is composed of straight lines. Four different colors of lines (gray\, yellow\, red\, and blue) each going in the four basic directions\, comprise the rendering technique for this work. This work harkens to earlier moments in Sol LeWitt’’s practice wherein a commitment to a simplified technical process led to the employment and exploration of the most basic unit of drawing: the line. LeWitt used the line in four basic directions — vertical\, horizontal\, diagonal left\, and diagonal right — experimenting with all potential combinations for the lines. \nWall Drawing 1094A is one of the first times the lines were layered to create an isometric form. The overlapping of the colored lines creates distinct areas of density and darkness. These discrete blocks then appear as separate but interlocking planes of the protruding central rectangle. The precision and almost mechanical ordering of the lines\, without the reliance on illusionistic shading\, create the appearance of a projecting form and demonstrate the range of possibilities allowed by straight lines. \n*Wall Drawing 1094 was executed in a tight corner on the third floor of Building 7. According to John Hogan\, LeWitt’s principal drafter in the 1980s\, smudging on the wall drawing began to show up near the 5-1/2 to 6 foot height — the result of visitors accidentally touching the drawing with their heads while trying to take selfies. Due to the fragile nature of the scribbled colored pencil\, Hogan and Mass MoCA staff voted to replace the drawing with Wall Drawing 1180 in 2010. \n
URL:https://massmoca.org/event/walldrawing1094a/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_1094A_2-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010842Z
LAST-MODIFIED:20181128T152430Z
UID:12244-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 630
DESCRIPTION: \nA wall is divided horizontally into two equal parts. Top: alternating horizontal black and white 8-inch (20 cm) bands. Bottom: alternating vertical black and white 8-inch (20 cm) bands. \nJanuary 1990 \nIndia ink \nYale University Art Gallery\nGift of Alexis B. Dittmer and Jason J. Dittmer \nFirst Installation\nGalerie Onrust\, Amsterdam \nFirst Drawn By\nPaul Kleijne\, Milco Onrust\, Marien Schouten \nMASS MoCA Building 7\nSecond Floor \nIn his first wall drawings\, Sol LeWitt reduced drawing to its most basic element: the line\, which he drew in four directions (vertical\, horizontal\, diagonal left\, and diagonal right). These lines in four directions have become a signature formal element for the artist. They are often organized into a square divided into four equal parts\, each part with a line in a different direction. However\, in Wall Drawing 630 and Wall Drawing 631 (shown on the same wall at MASS MoCA) the lines\, which have been translated into wide India ink bands\, take up the entire wall. The four types of lines abut each other\, creating natural divisions of the wall. By pairing the two drawings\, which were originally exhibited together at Galerie Onrust\, Amsterdam\, LeWitt creates a graphic\, dynamic presentation of the classic lines in four directions. \n
URL:https://massmoca.org/event/walldrawing630/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/detail-page-half-width-630-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010842Z
LAST-MODIFIED:20181128T163527Z
UID:12245-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 583H&F
DESCRIPTION: \nRectangles\, with color ink washes superimposed. Each is bordered by a 10-inch (25 cm) band with color ink washes superimposed\, a ½-inch (1¼ cm) white band\, and a 4-inch (10 cm) black band. \nDecember 1988 \nColor ink wash \nCourtesy of the Estate of Sol LeWitt (583F is Designated for Yale University Art Gallery) \nFirst Installation\nDes Moines Art Center \nFirst Drawn By\nConnie Butler\, Douglas Geiger\, Paul Mankins\, Tory Pomeroy\, Anthony Sansotta\, Rebecca Schwab\, Janice Shotwell\, Michael Willoughby \nMASS MoCA Building 7\nSecond Floor \nWall Drawing 583 was originally composed of over twenty segments\, of which MASS MoCA presents two: F and H. These two parts are depicted on the same wall flanking another\, related work\, Wall Drawing 584H\, which was first created only a month later. \nJosef Albers’’ minimalist compositions from the 1950s and 1960s\, which explored color theory\, influenced Sol LeWitt’’s own artistic practice. During this time\, LeWitt created wall structures in which colors and forms retreat or progress from a frontal plane. These early wall structures were painted on canvas and wood\, and framed. Wall Drawing 583 recalls LeWitt’’s early sculptural work. A half-inch white outline traces the perimeter of the drawing\, which is in turn framed by a wider\, four-inch black band. The framing of the interior squares allows the colors to pop. \nReminiscent of Josef Albers’’ Homage to the Square paintings from the 1950s and 1960s\, LeWitt’’s Wall Drawing 583 employs this simple geometric form to explore the illusory effects of color on the two-dimensional plane. Like Albers\, LeWitt placed squares inside of squares to investigate color interaction; the adjoining colors have the potential to recede or advance\, expand or contract. In 2005\, LeWitt further explored Albers’’ ideas when he created Seven Basic Colors and All Their Combinations in a Square within a Square: Wall Drawing for Josef Albers (Wall Drawing 1176)\, in homage to the artist and his theories on color. \n
URL:https://massmoca.org/event/walldrawing583hf/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/583-H-F-584-H-725.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010842Z
LAST-MODIFIED:20181128T152504Z
UID:12246-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 852
DESCRIPTION: \nA wall divided from the upper left to the lower right by a curvy line; left: glossy yellow; right: glossy purple. \nJune 1998 \nAcrylic paint \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nGalleria d’’Arte Moderna e Contemporanea Palazzo Forti\, Verona \nFirst Drawn By\nCristina Caterinangeli\, Anthony Sansotta \nMASS MoCA Building 7\nThird Floor \nMany of Sol LeWitt’’s earliest painted wall drawings were executed in monochrome black. However\, as he gained experience with the medium\, he began to experiment with the bold\, highly saturated colors that the paint produced. In Wall Drawing 852\, for example\, he divided a wall in half\, one side in yellow paint and the other in purple paint. The two colors are divided by a wavy line (a type of line frequently used in early painted wall drawings)\, which makes the contrast between the yellow and purple even more striking optically. At MASS MoCA\, Wall Drawing 852 is shown on the same wall as Wall Drawing 853\, which depicts a square containing red and green divided by a wavy line and a square containing orange and blue divided by a wavy line. In setting both wall drawings on the same wall\, LeWitt creates a finite series of complementary primary and secondary colors; all three complementary pairings are shown. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/7.mp4\n
URL:https://massmoca.org/event/walldrawing852/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/detail-page-half-width-852.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010843Z
LAST-MODIFIED:20181128T152523Z
UID:12247-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 391
DESCRIPTION: \nTwo-part drawing. The two walls are each divided horizontally and vertically into four equal parts. First wall: 12-inch (30 cm) bands of lines in four directions\, one direction in each part\, drawn in black India ink. Second wall: Same\, but with four colors drawn in India ink and color ink washes. \nApril 1983 \nIndia ink and color ink wash \nMusée d’Art Contemporain de Bordeaux (CAPC) \nFirst Installation \nMusée d’’Art Contemporain de Bordeaux\, Bordeaux \nFirst Drawn By \nSalah ‘Abid\, Jean-Luc Arvers\, Michel Harismendy\, David Higginbotham\, Jean Marie Perrier\, Francois Robert\, Anthony Sansotta \nMASS MoCA Building 10\nSecond Floor \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/18.mp4\n
URL:https://massmoca.org/event/walldrawing391/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_391.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010843Z
LAST-MODIFIED:20181128T152535Z
UID:12248-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 614
DESCRIPTION: \nRectangles formed by 3-inch (8 cm) wide India ink bands\, meeting at right angles. \nJuly 1989 \nIndia ink \nYale University Art Gallery\, Gift of the artist \nFirst Installation \nLisson Gallery\, London (installed at Yale November\, 2006) \nFirst Drawn By \nDavid Higginbotham\, Liam Longman\, Philip Riley\, Jim Rogers\, Elizabeth Sacre \nMASS MoCA Building 7\nSecond Floor \n
URL:https://massmoca.org/event/walldrawing614/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_614-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010843Z
LAST-MODIFIED:20181128T152553Z
UID:12249-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 95
DESCRIPTION: \nOn a wall divided vertically into fifteen equal parts\, vertical lines\, not straight\, using four colors in all one-\, two-\, three-\, and four-part combinations. \nJuly 1971 \nColored pencil \nCentre Pompidou\, Paris\nMusée national d’’art moderne/Centre de création industrielle \nFirst Installation\nToselli Gallery\, Milan \nFirst Drawn By\nSol LeWitt \nMASS MoCA Building 7\nGround Floor \nSeveral of Sol LeWitt’’s early wall drawings present all possible combinations of straight lines drawn in four directions. For example\, Wall Drawing 85\, on display at MASS MoCA\, illustrates all possible combinations of gray\, yellow\, red\, and blue straight lines superimposed\, or layered. The layers of colored lines produce various secondary and intermediate colors. Wall Drawing 95 is similar to Wall Drawing 85 in that it depicts all possible combinations of lines drawn in the four basic colors; however\, the lines in Wall Drawing 95 are not straight. Thus\, they are drawn next to each other\, rather than superimposed. The effect of drawing the lines next to each other reveals LeWitt’’s understanding of color theory. It produces a pointillistic effect: the eye perceives the various combinations of primary colored lines as a fuller range of tones. For example\, a panel containing a combination of gray\, yellow\, and red lines will appear to be a muted shade of orange. \n
URL:https://massmoca.org/event/walldrawing95/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_95.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010843Z
LAST-MODIFIED:20201202T204103Z
UID:12250-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1046
DESCRIPTION: \nBars of color (La Coruña). \nMay 2002 \nAcrylic paint \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nFundación Pedro Barrié de la Maza\, La Coruña\, Spain \nFirst Drawn By\nGerman Tajes Camiño\, Sachiko Cho\, Jose Ramon Fraga\, Jose Carlos Soliño\, Manuel Gracia Solana\, Constantino Diaz Vazquez\, Jose Luis Vazquez\, Jo Watanabe \nThe crisscrossing bars of color in Wall Drawing 1046 produce a sense of movement and the illusion of transformed architectural space. The drawing is one of many created by Sol LeWitt in the first few years of the 21st century\, which depict geometric configurations composed of colored bars. In Wall Drawing 1046\, the bars cross through the picture plane at various angles\, creating an extremely exuberant composition. The bars are drawn using isometric perspective\, giving them a sense of volume\, which\, in combination with the vibrant color palette\, makes them appear to pop out from the wall. \nBackstory\nAt MASS MoCA\, Wall Drawing 1046\, which has a yellow and red background\, is installed near several contemporaneous drawings\, including Wall Drawing 1042\, which features a red\, orange\, green and purple isometric open cube structure painted on a blue background. This placement highlights the dominance of the primary colors\, which have constituted the core of LeWitt’s palette throughout his career. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/12.mp4\n  \nCollection of Margot and Tom Pritzker \n\n
URL:https://massmoca.org/event/walldrawing1046/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/1046-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010843Z
LAST-MODIFIED:20181128T153448Z
UID:12251-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 142
DESCRIPTION: \nA 10-inch (25 cm) grid covering the wall. An increasing number of vertical not straight lines from the left side and horizontal not straight lines from bottom to top\, adding one line per row of the grid. All lines are spaced evenly based on the number of lines\, filling the last row of each direction. \nJune 1972 \nBlack pencil \nYale University Art Gallery\nGift of the LeWitt Collection\, Chester\, Connecticut\, in honor of Mr. and Mrs. Robert F. Shapiro\, B.A. 1956 \nFirst Installation \nPrivate residence \nFirst Drawn By \nJo Watanabe \nMASS MoCA Building 7\nGround Floor \nSol LeWitt’’s wall drawings of the 1970s are categorized by broad variety and experimentation. While his earliest wall drawings were largely comprised of straight lines in four directions\, in the 1970s he pushed the organization and form of the line in many new directions. Wall Drawing 142\, for instance\, explores the notion of a grid of increasing vertical and horizontal not straight lines\, in which the size of the wall determines the number of lines in each section of the grid. Thus\, each wall that the drawing is executed on will create different results. In dictating that the lines must be ‘not straight\,’ LeWitt allows the curves of the draftsman’’s natural gesture to show\, making each individual line unique. \nAs he did in Wall Drawing 142\, LeWitt employs a grid structure in many of his drawings. This device enabled him to organize his compositions in a nonhierarchical manner; grids allowed him to avoid prioritizing one form over another. \n
URL:https://massmoca.org/event/walldrawing142/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_142.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010843Z
LAST-MODIFIED:20181128T153502Z
UID:12252-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 343A\,B\,C\,D\,E\,F
DESCRIPTION: \nOn a black wall\, nine geometric figures (including right triangle\, cross\, X) in squares. The backgrounds are filled in solid white. \nDecember 1980 \nWhite crayon on black wall \nA\, B\, C\, D\, E\, F  (Square\, Circle\, Triangle\, Rectangle\, Trapezoid\, Parallelogram) \nPinault Collection \nFirst Installation\nLarry Gagosian Gallery\, Venice\, CA \nFirst Drawn By\nJo Watanabe \nMASS MoCA Building 7\nSecond Floor \nBy the 1970s\, Sol LeWitt had expanded his formal vocabulary (previously straight lines in four directions) to include arcs\, not-straight lines\, broken lines\, and geometric shapes. At first the artist limited these to ‘primary shapes\,’ which he defined as circle\, square and triangle. Wall Drawing 343 A\,B\,C\, created in 1980\, exhibits an extended geometric vocabulary. In its original installation the drawing featured nine figures: the three primary shapes\, the three ‘secondary shapes’ (rectangle\, trapezoid\, and parallelogram) and a cross\, an X\, and a right triangle. At MASS MoCA\, the wall drawing contains only the primary and secondary shapes. \nAs the range of forms LeWitt used evolved\, so did the way they were drawn. The earliest wall drawings featuring shapes depicted only linear outlines of the forms. Later\, the artist filled the outlined forms with parallel lines. In the instructions for Wall Drawing 343 LeWitt directed draftsmen to paint the wall black and then to fill squares around the boundaries of the shapes in white scribble; thus the negative space created by the background determines the shape. Other works of the period\, such as Triangle (1980)\, rendered in ink on paper\, and Wall Drawing 351 (1981)\, rendered in crayon\, also use the scribble technique. A variation of this technique reemerged in a series of graphite wall drawings done between 2005 and 2007. \nBackstory\nLeWitt used 8H or 9H graphite sticks in his first wall drawings\, but by 1971 had introduced smudge-free Caran d’’Ache crayon. The temperature of the new medium became an important consideration for the draftsmen. When cold\, the crayons became brittle\, producing a flaky line. Draftsmen at MASS MoCA combated this by warming the crayon in their hands before application. This makes the wax easier to distribute\, allowing enough crayon so that the surface looks white from a distance without compromising the texture of the wall. If the wax becomes too warm\, the crayon smothers the orange peel-like surface of the wall. In the event of a build-up\, the draftsmen use razor blades to scrape off the excess wax. \n
URL:https://massmoca.org/event/walldrawing343abcdef/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/343.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010843Z
LAST-MODIFIED:20181128T153517Z
UID:12253-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 527
DESCRIPTION: \nTwo flat-topped pyramids with color ink washes superimposed. \nApril 1987 \nColor ink wash \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nBonnefantenmuseum\, Maastricht\, the Netherlands \nFirst Drawn By\nFransje Killaars\, Ton van der Laaken\, Roy Villevoye \nMASS MoCA Building 7\nSecond Floor \nFirst completed in 1987\, Wall Drawing 527 is one of Sol LeWitt’’s many works from that time that make use of isometric forms and color ink washes. The original instructions for this drawing call for “two flat-topped pyramids with color ink washes superimposed.” At MASS MoCA\, only one pyramid has been drawn\, thus presenting a detail of the original work. \nThe central form is a non-peaked pyramid\, which seems to lean forward toward the viewer even as its diamond-shaped top recedes toward the background plane. This drawing employs an isometric drawing technique that initially suggests depth and volume\, but in fact is rendered in a non-perspectival manner and does not rely on illusionism to create a form. As in many of the isometric drawings\, LeWitt evidences the way in which much can be suggested through the use of limited means and stringent technique. \nThe ink wash style of rendering used in Wall Drawing 527 and related works lends the work a rich surface quality. LeWitt began working with ink washes in the early 1980s perfecting a specific and complicated process for the application of ink. This work encompasses both the formal strength of LeWitt’’s practice\, through the carefully applied vivid color and the intelligible directness of his ideas\, through the simplicity of the overall composition. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/14.mp4\n
URL:https://massmoca.org/event/walldrawing527/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/439-527.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010843Z
LAST-MODIFIED:20181128T153532Z
UID:12254-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 439
DESCRIPTION: \nAsymmetrical pyramid with color ink washes superimposed. \nMay 1985 \nColor ink wash \nCuomo Collection \nFirst installation\nSala de Exposiciones de la Fundacion\, Caja de Pensiones\, Madrid \nFirst Drawn By\nDavid Higginbotham\, Jo Watanabe \nMASS MoCA Building 7\nSecond Floor \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/14.mp4\n
URL:https://massmoca.org/event/walldrawing439/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/439-527.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010843Z
LAST-MODIFIED:20181128T153545Z
UID:12255-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 88
DESCRIPTION: \nA 6-inch (15 cm) grid covering the wall. Within each square\, not straight lines in either of four directions. Only one direction in each square but as many as desired\, and at least one line in each square. \nJune 1971 \nBlack pencil \nMilwaukee Art Museum\, Gift of Friends of Art\, M2006.1 \nFirst Installation \nThe Milwaukee Art Center\, Milwaukee \nFirst Drawn By \nWilliam Torphy \nMASS MoCA Building 7\nGround Floor \nDating from June 1971\, Wall Drawing 88 is exemplary of Sol LeWitt’’s interest in indeterminacy. The piece embraces a dynamic relationship between the artist\, the draftsman\, and the work itself\, in which the parameters of the work are predetermined by the artist\, but certain fundamental elements – the direction\, number\, and form of the lines – are left to the draftsman’s interpretation. Thus\, each execution of the drawing differs greatly\, challenging the notion that there is one specific realization of an artwork. The boundaries of Wall Drawing 88 extend beyond this wall to the infinite set of hypothetical instances. The wall drawing was created during a period of broad experimentation for LeWitt. \n
URL:https://massmoca.org/event/walldrawing88/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_88.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010843Z
LAST-MODIFIED:20181128T153556Z
UID:12256-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 552D
DESCRIPTION: \nTilted forms with color ink washes superimposed. \nDecember 1987 \nColor ink wash \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nRoyal Scottish Academy\, Edinburgh \nFirst Drawn By\nDavid Higginbotham\, Linda Taylor\, Jo Watanabe \nMASS MoCA Building 7\nSecond Floor \nWall Drawing 552D is a part of the body of wall drawings presenting a figure the artist described as “not quite a cube.” Despite their volumetric appearance\, these forms adhere as much to the idea of flatness as Sol LeWitt’s linear geometries. The 8” black borders around this drawing in particular recalls the boundaries of the artist’’s oft-used grid format\, only here the frame frustrates rather than facilitates the perception of its contents. Interrupting the uppermost surface of the tilted solid\, the border counteracts the sensation of illusionistic space and\, consequently\, accentuates the wall’’s flatness. \nCritics have made reference to early fresco painters as an inspiration for LeWitt’’s use of color. Much like how LeWitt employs isometric projection\, he recalls an older color sensibility while inflecting it with his signature system of superimposing—\, rather than mixing —pigments. \n
URL:https://massmoca.org/event/walldrawing552d/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/552D-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010844Z
LAST-MODIFIED:20181128T153618Z
UID:12257-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 584H
DESCRIPTION: \nSquares\, divided horizontally and vertically into four equal parts. Within each part\, color ink washes superimposed. The squares are bordered by a ½-inch (1¼ cm) white band and a 4-inch (10 cm) black band. \nJanuary 1989 \nColor ink wash \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nKunsthalle Bern\, Bern\, Switzerland \nFirst Drawn By\nBabette Berger\, Vincent Chablais\, David Higginbotham\, Marianne Kohler\, Maria Lichsteiner\, Michael Lüscher\, Andrea Marescalchi\, Axel Morgenthaler\, Anthony Sansotta\, Martin Schnidrig\, Rebecca Schwab\, Claude Spiess\, Lucia Stäuble\, Sigi Stucki \nMASS MoCA Building 7\nSecond Floor \nWall Drawing 584H is presented between two related works\, Wall Drawing 583H&F. This drawing depicts a square divided horizontally and vertically to create four equal parts\, a motif that Sol LeWitt has worked with since his early linear wall drawings done in pencil\, such as Wall Drawing 56 (also at MASS MoCA). The color within each of the four parts is executed with superimposed color ink washes\, which the artist explored throughout the 1980s. As in the two wall drawings that flank it\, LeWitt employs a framing device in Wall Drawing 584H: it is bordered by a ½-inch white band\, which is then outlined with a 4-inch black band. \n
URL:https://massmoca.org/event/walldrawing584h/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/detail-page-half-width-584H.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010844Z
LAST-MODIFIED:20181128T153632Z
UID:12258-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1037
DESCRIPTION: \nBars of color within a square (#8). \nApril 2002 \nAcrylic paint \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nGalleria Juana de Aizpuru\, Madrid \nFirst Drawn By\nSachiko Cho\, Pia Frade Dodriguez\, Aurora Ortega\, Rafael Aragon Romero \nMASS MoCA Building 7\nThird Floor \nWall Drawing 1037 is part of a series of wall drawings titled Bars of color within a square\, the idea for which was conceived in March 2002 in a group of drawings for an unpublished book project. Each drawing consists of a different configuration of bars within a framed square. The bars are drawn using isometric projection – a geometric method used to construct three-dimensional objects on two-dimensional surfaces without using traditional one-point perspective. This technique makes the form appear to float in a space that does not recede\, maintaining the two-dimensionality of the wall support. Each square contains all six primary and secondary colors (red\, yellow\, blue\, green\, purple\, orange.) In each\, two of the colors are used for the two bands framing the square\, and the remaining four colors are used inside the frames. \nIn April 2002 Sol LeWitt turned eight of the drawings conceived for this project into wall drawings for Galleria Juana de Aizpuru in Madrid. The exhibit included Wall Drawing 1037. In 2005 MIT commissioned LeWitt to create a work for the U-shaped floor of the atrium of The Green Center. The artist created a plan in which fifteen of the original series of drawings were executed in eighteen by eighteen foot squares on the floor. \n
URL:https://massmoca.org/event/walldrawing1037/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_1037.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010844Z
LAST-MODIFIED:20181128T153644Z
UID:12259-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 681C
DESCRIPTION: \nA wall divided vertically into four equal squares separated and bordered by black bands. Within each square\, bands in one of four directions\, each with color ink washes superimposed. \nAugust 1993 \nColor ink wash \nNational Gallery of Art\, Washington\, D.C.\nThe Dorothy and Herbert Vogel Collection\, Gift of Dorothy and Herbert Vogel\, Trustees\, 1993.41.1 \nFirst Installation\nNational Gallery of Art\, Washington\, D.C. \nFirst Drawn By\nSachiko Cho\, Kei Tsujimura \nMASS MoCA Building 7\nSecond Floor \nSol LeWitt’’s earliest wall drawings explore fine lines in four directions (vertical\, horizontal\, diagonal left\, and diagonal right) using 8H or 9H graphite sticks and sometimes red\, yellow\, and blue colored pencil. When LeWitt began using ink washes in 1983\, he often returned to these patterns of parallel lines\, replacing the fine graphite marks with thicker\, bolder bands of ink which he alternated with bands of white. Later\, LeWitt eliminated the white spaces all together\, filling all the bands with saturated color\, as seen in Wall Drawing 681C. \nAs in the pencil iterations\, LeWitt limited his ink palette to gray\, yellow\, red\, and blue (the colors used in printing) and frequently layered or superimposed the four colors. While the superimposed pencil creates very faint variations in hue\, the ink layers produce a broad color palette of rich\, gem-like colors. The artist soon expanded his palette even further by experimenting with not only layers of different ink colors\, but also multiple layers of the same colors. This layering technique is often likened to musical composition: the four basic colors are like notes that can be combined in many ways\, and in many octaves\, resulting in a multitude of different melodies. Wall Drawing 681C exemplifies the range of hues that LeWitt’’s instructions can produce. \nBackstory\nIn Wall Drawing 681C the arrangement of ink color combinations appears to be random; however\, within each square all of the bands have the same first color of ink: all of the bands in the first square start with yellow\, all in the second with gray\, all in the third with red\, and all in the fourth with blue. This pattern almost adheres to LeWitt’’s code that applies colors to the four basic types of line. The square with red base layers consists of diagonal left to right lines\, and the square with the blue base layers consists of diagonal right to left lines\, as decreed by the code. However\, the yellow and gray codes have been switched: gray is the standard color for vertical lines\, and yellow is the standard color for horizontal lines (in this wall drawing they have been switched). \n
URL:https://massmoca.org/event/walldrawing681c/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/681c-414.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010844Z
LAST-MODIFIED:20201020T135609Z
UID:12260-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 793A
DESCRIPTION: \nIrregular wavy color bands. \nJanuary 1996 \nColor ink wash \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nSala de las Alhajas\, Madrid \nFirst Drawn By\nSachiko Cho\, Jo Watanabe \nMASS MoCA Building 7\nSecond Floor \nMany of Sol LeWitt’’s ink wall drawings consist of thick bands of color. Until 1996 these bands took the form of parallel lines or concentric arcs. In 1996\, however\, LeWitt began to experiment with covering walls with curvy bands of uneven widths. The artist had previously worked with irregular lines in his early graphite and colored pencil drawings\, which called for ‘not-straight lines.’ This can be seen in Wall Drawing 46\, also on display at MASS MoCA. Yet\, unlike the irregular bands\, the not-straight lines were usually organized according to specific rules. The organic nature of these later forms represents a shift away from the rigorous systems that governed much of the artist’s previous work. This shift carried over into the painted wall drawings that LeWitt began creating in 1997. \nLike many of LeWitt’’s ink drawings from the mid- to late-1990s\, the colors of the bands in Wall Drawing 793A are composed of layers of gray\, yellow\, red\, and blue ink\, according to the specifications of the artist. The layered application of color results in an extraordinary range of jewel-toned hues. \nAnother version of the wall drawing on display at MASS MoCA\, Wall Drawing 793C\, was created for the remodeled entrance of the Wadsworth Athenaeum in Hartford in April 1996. \nBackstory\nThe organic nature of this wall drawing dictates that the draftsmen project LeWitt’’s original drawing onto the wall. To delineate the different bands during this projection process at MASS MoCA\, the draftsmen coded them with shapes and objects. \n
URL:https://massmoca.org/event/walldrawing793b/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/793b.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010844Z
LAST-MODIFIED:20181128T153712Z
UID:12261-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1247
DESCRIPTION: \nScribbles 7. (PW) \nAugust 2007 \nGraphite \nThe Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art \nFirst Installation\nPace Wildenstein\, New York \nFirst Drawn By\nCharles Allen\, Takeshi Arita\, Andrew Colbert\, Sarah Heinemann\, John Hogan\, Gabriel Hurier\, Sara Krugman\, Roland Lusk\, Anthony Sansotta\, Michael-Benjamin Vedder \nMASS MoCA Building 7\nThird Floor \nIn 2005 Sol LeWitt began a series of ‘scribble’ wall drawings\, so termed because they required the draftsmen to fill in areas of the wall by scribbling with graphite. The use of graphite represents a return to the medium used in LeWitt’’s earliest wall drawings. The scribble series also returns to the vocabulary of LeWitt’’s early works in that many of the scribble wall drawings use the simple geometric shapes that first appeared in LeWitt’’s works of the 1980s. Wall Drawing 1247\, for instance\, depicts an ‘X’\, which LeWitt used in many of his crayon drawings of the mid-eighties. \nUnlike these earlier drawings in which the shapes appeared flat\, the ‘X’ in Wall Drawing 1247 somewhat possesses the illusion of depth. In his scribble drawings LeWitt explores gradations of tone made with varying densities of scribbles. As a result of these changes in tone\, the ‘X’ in Wall Drawing 1247 appears as a crossing of two cylindrical volumes. The reflective sheen of the graphite lends these volumes a metallic appearance. However\, the ends of the ‘X’ are cut at precise right angles which counteract the form’s depth and reinforce the flatness of the wall. \n
URL:https://massmoca.org/event/walldrawing1247/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/1247-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010844Z
LAST-MODIFIED:20181128T153728Z
UID:12262-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 692
DESCRIPTION: \nContinuous forms with color ink washes superimposed. \nOctober 1991 \nColor ink wash \nCollection of Martin E. Zimmerman/LINC Group \nFirst Installation\nLINC Group\, Chicago \nFirst Drawn By\nRebecca Schwab \nMASS MoCA Building 7\nSecond Floor \nIn the early 1990s Sol LeWitt created a series of wall drawings depicting ‘continuous forms.’ These forms represent a variation on the isometric cubes that the artist explored in his wall drawings of the previous decade. By repeatedly rotating the isometric forms\, the artist created the planar facets that characterize the ‘continuous forms.’ \nSimilar formal ideas can be seen in LeWitt’’s three-dimensional works from the time. In fact\, the ‘continuous forms’ are direct descendants of the drawings and sketches for LeWitt’’s Complex Form structures. The artist nicknamed these wooden sculptures ‘icebergs’ because of their multifaceted shape and white color. Like the working drawings\, the continuous forms possess a three-dimensional quality: the planes appear to jut out from the wall. \nIn many of the ‘continuous forms’ drawings\, LeWitt employs grids to either organize or confuse the composition. In Wall Drawing 692 a regular square grid overlays the matrix of forms. Drawn over the colored planes\, the grid reinforces the flatness of the wall’’s surface. \nBackstory\nIn Wall Drawing 692\, as in most of LeWitt’’s ink wall drawings from this period\, LeWitt instructs draftsmen to layer different combinations of the four ink colors (gray\, yellow\, blue\, red)\, creating a variety of hues. The artist’’s instructions exist in the form of combinations of letters (G\,Y\,B\,R). In some of the ink works\, these combinations are not systematic\, but random—they depend on the artist’’s intuition. Combinations of yellow and gray\, blue and gray\, and blue and red feature prominently in many of the drawings from this time\, revealing LeWitt’’s preference for the colors produced by those particular pairings. \n
URL:https://massmoca.org/event/walldrawing692/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/692-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010844Z
LAST-MODIFIED:20181128T153741Z
UID:12263-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 631
DESCRIPTION: \nA wall is divided into two equal parts by a line drawn from corner to corner. Left: alternating diagonal black and white 8-inch (20 cm) bands from the lower left. Right: alternating diagonal black and white 8-inch (20 cm) bands from the upper right. \nJanuary 1990 \nIndia ink \nYale University Art Gallery\nGift of Alexis B. Dittmer and Jason J. Dittmer \nFirst Installation\nGalerie Onrust\, Amsterdam \nFirst Drawn By\nPaul Kleijne\, Milco Onrust\, Marien Schouten \nMASS MoCA Building 7\nSecond Floor \nIn his first wall drawings\, Sol LeWitt reduced drawing to its most basic element: the line\, which he drew in four directions (vertical\, horizontal\, diagonal left\, and diagonal right.) These lines in four directions have become a signature formal element for the artist. They are often organized into a square divided into four equal parts\, each part with a line in a different direction. However\, in Wall Drawing 630 and Wall Drawing 631 (shown on the same wall at MASS MoCA) the lines\, which have been translated into wide India ink bands\, take up the entire wall. The four types of lines abut each other\, creating natural divisions of the wall. By pairing the two drawings\, which were originally exhibited together at Galerie Onrust\, Amsterdam\, LeWitt creates a graphic\, dynamic presentation of the classic lines in four directions. \n
URL:https://massmoca.org/event/walldrawing631/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/detail-page-half-width-631.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010844Z
LAST-MODIFIED:20181128T153758Z
UID:12264-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 56
DESCRIPTION: \nA square is divided horizontally and vertically into four equal parts\, each with lines in four directions superimposed progressively. \nAugust 1970 \nBlack pencil \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation\nLeWitt residence\, New York \nFirst Drawn By\nSol LeWitt \nMASS MoCA Building 7\nGround Floor \nSol LeWitt’’s early wall drawings were based on finite series of what he termed “simple” lines (lines drawn in one of four basic directions: vertical\, horizontal\, diagonal left\, and diagonal right)\, as well as “superimposed” lines (the four simple lines layered on top of each other). By superimposing the lines in a sequential manner\, as seen in Wall Drawing 56\, the artist produced progressively darker gradations of tone. \n
URL:https://massmoca.org/event/walldrawing56/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/56-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010844Z
LAST-MODIFIED:20201202T203827Z
UID:12265-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 160
DESCRIPTION: \nA black outlined square with a red diagonal line centered on the axis between the upper left and lower right corners and another red diagonal line centered on the axis between the lower left and upper right corners. \nApril 1973 \nRed and black crayon \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nMuseum of Modern Art\, Oxford \nFirst Drawn By\nSol LeWitt\, Nicholas Logsdail \nMASS MoCA Building 7\nGround Floor \nThe exhaustion of the possibilities of a simple geometric grammar forms the basis of LeWitt’s artistic practice\, and the four early examples of location drawings on view at MASS MoCA (Wall Drawing 154\, Wall Drawing 159\, Wall Drawing 160 and Wall Drawing 164) provide a visual example of his working methods. In these location drawings\, Sol LeWitt uses written instructions to describe geometric constructions on the wall. Whereas earlier drawings began to explore the possibilities of combining four different line directions and four different colors\, this series explores the various results achieved by drawing straight lines to and from nine easily defined points. Crafting his drafting instructions in terms of the corners of the square\, the midpoints of each side\, and the center\, LeWitt sets the vocabulary of construction for subsequent location drawings\, the descriptions and constructions of which increase in complexity. These works show an artistic interest in the geometry of the wall\, in geometric point-finding\, and in the potential for communicating an image through textual instruction. \nCollection of Harvey M. and Ruth Glesby Wagner \n\n
URL:https://massmoca.org/event/walldrawing160/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/detail-page-half-width-160.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010844Z
LAST-MODIFIED:20181128T153829Z
UID:12266-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 824
DESCRIPTION: \nA black square divided in two parts by a wavy line. One part flat; one glossy. \nApril 1997 \nAcrylic paint \n824A\,B\,C\,E\,F\,H\,J\,K\,L\,M\,N: Courtesy of the Estate of Sol LeWitt (Designated for Yale University Art Gallery) \n824G: Lent by Alan Gibbs \nFirst Installation\nAce Gallery\, New York \nFirst Drawn By\nArtistides Dé Leon\, Sachiko Cho\, Derek Edwards\, Naomi Fox\, Henry Levine\, Sunhee Lim\, Jason Livingston\, Emil Memon\, Travis Molkenbur\, Caroline Rothwell \nMASS MoCA Building 7\nThird Floor \nWall Drawing 824 demonstrates Sol LeWitt’’s interest in the effects of glossy and matte finishes on monochromatic paint. The wall drawing was created for an exhibit at the Ace Gallery\, New York\, at which LeWitt’’s first painted wall drawings were displayed. In several works in the exhibit\, including Wall Drawing 824\, LeWitt used a curvy line to divide the two areas and their different finishes. The drawing consists of a series of squares divided by various permutations of undulating lines. The iteration of the curvy line reveals LeWitt’’s interest in seriality\, which began early in his artistic career and continued into his works which use paint as a medium. \nBackstory\nThough Wall Drawing 824 and most of the wall drawings created in the decade following 1997 are largely executed in acrylics\, LeWitt continued to refer to them as ‘drawings’ rather than ‘murals\,’ stressing the inclusion of these pieces in the rigorously intellectual continuum of his oeuvre. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/17.mp4\n
URL:https://massmoca.org/event/walldrawing824/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/824821a.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010844Z
LAST-MODIFIED:20181128T153846Z
UID:12267-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1081
DESCRIPTION: \nPlanes of color. \nMarch 2003 \nAcrylic paint \nYale University Art Gallery\nGift of the LeWitt Collection\, Chester\, Connecticut\, in honor of Sylvia Plimack Mangold\, B.F.A. 1961 and Robert Mangold\, B.F.A. 1961\, M.F.A. 1963 \nFirst Installation\nKunstammlungen Chemnitz\, Germany \nFirst Drawn By\nMichael Aurich\, José Augusto\, Proa Daniel\, Megan Dyer\, Jan Kummer\, Frank Maibier\, Hilmar Messenbrink\, Erik Neukirchner\, Tomas Ramberg\, Ralph Siebenborn\, Mattias Stein \nThe exuberance of the surface of this piece\, due to the bright palette and relative permanence of the acrylic paint\, has been described as ‘decorative\,’ contrasting it with the more ephemeral graphite used in earlier drawings. The pencil drawings certainly foreground the conceptual emphasis on verbal expression and temporality of the art object\, but the systematic process that drives every Sol LeWitt wall drawing is preserved here as well. Though the arrangement of figures and colors may seem driven by aesthetic considerations\, the actual product is an iteration of the same rules and artistic strictures in evidence in earlier drawings. The shapes are limited to the rectangle and the trapezoid\, two of the original six that LeWitt used. The colors are only the three primary colors; red\, blue and yellow\, and the three secondary colors; green\, purple and orange. \nThe procession of flat planes of various size and color creates a sense of movement and an illusion of perspective\, expressing the influence of Eadweard Muybridge. This sense of expanded architectural space would have been magnified in the first installation of this drawing\, at the Kunstsammlungen Chemnitz \, where it occupied three walls. \nBackstory\nSol LeWitt was a great admirer of the work of Josef Albers\, to whom he dedicated a later wall drawing. Like the older artist\, LeWitt was committed to stripping his artistic vocabulary down to the fundamentals\, and the results of his color iterations speak to the creative legacy of Albers. \n
URL:https://massmoca.org/event/walldrawing1081/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_901-1081.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010844Z
LAST-MODIFIED:20181128T153900Z
UID:12268-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 766
DESCRIPTION: \nTwenty-one isometric cubes of varying sizes\, each with color ink washes superimposed. \nSeptember 1994 \nColor ink wash \nSan Francisco Museum of Modern Art\, Accessions Committee Fund: gift of Barbara and Gerson Bakar\, Emily Carroll and Thomas Weisel\, Jean and James E. Douglas\, Jr.\, Evelyn D. Haas\, the Modern Art Council\, Phyllis and Stuart G. Moldaw\, Robin Wright Moll\, Norah and Norman Stone\, Danielle and Brooks Walker Jr.\, and Judy and John Webb. 2000.301 \nFirst Installation\nRenn Espace\, Paris \nFirst Drawn By\nIsabelle Beaumont\, Antoine Bonhomme\, Flavien Damarigny\, Anthony Sansotta \nMASS MoCA Building 7\nSecond Floor \nWall Drawing 766 was one of several new works unveiled at the 1994 Sol LeWitt retrospective at RENN Espace in Paris. LeWitt had begun to work in ink washes in 1982\, and this later example of his work in this medium particularly shows the range of hues that he achieved through combining the four colors that form his vocabulary: black\, yellow\, red\, and blue. \nThe cube has been of interest to LeWitt throughout his career\, both in sculpture where it formed the basic unit of his permutations\, and in his wall drawings in which the square has always figured prominently. The rendering of these cubes\, while employing a method of perspective\, is not meant to suggest any kind of spatial recession. Instead of drafting his forms using linear perspective\, LeWitt drafts them isometrically\, a technique in which the cubes are effectually tilted toward the viewer to indicate the volumetric nature of the shapes without compromising the flatness of the wall with any kind of architectural illusionism. \nThe dimensions of the cubes reflect the boxes of the grid in which they are situated. The grid\, a fundamental tool that LeWitt has used to organize his walls in most of his drawings\, is distorted: stretched and pulled in order to create this irregular pattern of rectangles. The cubes inside the grid stretch or pull in response to the distortion of the squares. \nBackstory\nWhile in Italy\, Sol LeWitt would have had access to Trecento and Quattrocento frescoes such as the Arena Chapel in Padua\, a famous fresco cycle by the Early Renaissance master Giotto di Bondone. LeWitt acknowledges the influence of these painted walls on his own drawings\, and goes so far as to write in a letter to Andrea Miller-Keller\, curator at the Wadsworth Atheneum in Hartford\, Connecticut\, that in his work he strives “to produce something [he] would not be ashamed to show Giotto.”1 \n1 Sol LeWitt and Andrea Miller-Keller. 1981-1983. Sol LeWitt Critical Texts\, AEIUO\, Incontri Internazionali D’Arte\, Rome\, Italy\, editing by Adachiara Zevi\, 1995 \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/10.mp4\n
URL:https://massmoca.org/event/walldrawing766/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/766-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010845Z
LAST-MODIFIED:20181128T153914Z
UID:12269-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 853
DESCRIPTION: \nA wall bordered and divided vertically into two parts by a flat black band. Left part: a square is divided vertically by a curvy line. Left: glossy red; right: glossy green; Right part: a square is divided horizontally by a curvy line. Top: glossy blue; bottom: glossy orange. \nJune 1998 \nAcrylic paint \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nGalleria d’Arte Moderna e Contemporanea Palazzo Forti\, Verona \nFirst Drawn By\nCristina Caterinangeli\, Anthony Sansotta \nMASS MoCA Building 7\nThird Floor \nWall Drawing 853\, one of Sol LeWitt’’s early painted wall drawings\, explores combinations of complementary colors\, or colors that are opposites on the color wheel\, such as red and green. At MASS MoCA Wall Drawing 853\, which features blue and orange alongside red and green\, is displayed on the same wall as Wall Drawing 852\, which is composed of yellow and purple. The two wall drawings were originally displayed on two separate walls in an exhibit at Galleria d’’Arte Moderna e Contemporanea Palazzo Forti\, Verona. \nIn siting both wall drawings on the same wall\, LeWitt creates a finite series of complementary primary and secondary colors; all three complementary pairings are shown. In addition\, a different type of curvy line divides each of the three squares: the red and green square is divided by a vertical curvy line\, the blue and orange square is divided by a horizontal curvy line\, and the yellow and purple square is divided by a diagonal curvy line. LeWitt’’s use of a finite series dates back to his early pencil wall drawings\, which were based on combinations of the four basic types of lines (vertical\, horizontal\, diagonal left\, and diagonal right.) \nBackstory\nThe glossy varnish can be problematic in that it does not stick easily to the wall. To apply the varnish the draftsmen must work very carefully in teams. The first team of three paints the varnish onto the wall. A second team of three paints horizontal strokes through the varnish using brushes constructed specifically for this purpose. They must hold the brushes lightly to minimize the appearance of brushstrokes. The specialized brush is composed of polyester bristles which are about the thickness of babies’’ hair. The material and size of the bristles help adhere the varnish to the wall. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/7.mp4\n
URL:https://massmoca.org/event/walldrawing853/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/detail-full-width-853.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010845Z
LAST-MODIFIED:20181128T153934Z
UID:12270-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 999
DESCRIPTION: \nWall Drawing 999: Parallel Curves (detail: one of two walls)\nAugust 2001\nAcrylic paint (black bands on white)\nCollection of Thomas Weisel \nFirst Installation\nLever House\, New York \nFirst Drawn By\nPaolo Arao\, Nicole Awai\, Ian Dapot\, Megan G. Dyer\, Sarah Heinemann\, John Hogan\, Eric Hongisto\, Tomas Ramberg \nMASS MoCA Building 7\nThird Floor \nWall Drawing 999 was designed for the Lever House in New York\, one of the first glass and steel International Style office buildings built in the United States. The drawing spans two walls on the building’’s second floor and is visible from the exterior courtyard. The sinuous web of wavy black bands on a white ground provides a dramatic contrast to the building’’s formal geometry and uniform\, grid-based design. \nLike many of Sol LeWitt’’s wall drawings made in the late 1990s and early 2000s\, Wall Drawing 999 is painted in acrylic paint and features irregular\, non-geometric forms\, a profound departure from his early systematic drawings in pencil. LeWitt has said\, ““When presented with the scale that walls have\, one must begin to engage their physical properties. The theatrical and decorative are unavoidable and should be used to emphasize the work.””¹ \nUnlike many of his earlier drawings\, which could be drawn according to a system of instructions\, the irregular\, undulating design of Parallel Curves is drawn from a projection of a sketch. \n¹Quoted from Andrea Miller-Keller\, “Excerpts from a Correspondence\, 1981-1983\,” in Susanna Singer\, et al.\, Sol LeWitt Wall Drawings 1968-1984 (Amsterdam: Stedelijk Museum\, 1984)\, p.19. \nBackstory\nTo create Wall Drawing 999 the draftsmen projected a copy of LeWitt’’s original drawing onto the wall. As they traced the image they went through a series of checks to ensure that the black and white curves flowed in the same manner as the original. The head draftsman then taped over the lines\, altering them where the curves were too thick or too thin. Next the draftsmen masked the areas that would be black (covering them in paper) and applied the white paint to the uncovered sections of the wall. This process was reversed for the black areas. As the draftsmen applied the black paint\, the head draftsman rechecked and corrected the curves. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/2.mp4\n
URL:https://massmoca.org/event/walldrawing999/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_999.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010845Z
LAST-MODIFIED:20181128T153946Z
UID:12271-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 260A
DESCRIPTION: \nOn blue walls\, all two-part combinations of white arcs from corners and sides\, and white straight\, not straight\, and broken lines within a 36-inch (90 cm) grid.  \nJune 2000 \nWhite crayon\, black pencil on blue wall \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation By\nMuseum of Contemporary Art\, Chicago \nFirst Drawn By\nMio St. Clair\, Ginger Wolfe\, James Kendrick \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/5.mp4\n
URL:https://massmoca.org/event/walldrawing260a/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/146a.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010845Z
LAST-MODIFIED:20181128T163539Z
UID:12272-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1152
DESCRIPTION:Whirls and twirls. (Met) \nApril 2005 \nAcrylic paint \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation\nMetropolitan Museum of Art\, Iris and B. Gerald Cantor Roof Garden \nFirst Drawn By\nTakeshi Arita\, Sarah Heinemann\, Gabriel Hurier\, Chie Shimizu \nWhirls and Twirls was created for the Iris B. Gerald Cantor Roof Garden at the Metropolitan Museum of Art in New York. Sol LeWitt designed the wall drawing to accompany a series of abstract three-dimensional forms called Splotches. The artist saw the curvilinear forms of both the structures and the drawings as complements to the undulating landscape of nearby Central Park\, while the vivid colors provided a bold contrast with the gray tones of Manhattan’s skyline in the distance. \nThis wall drawing is based on Wall Drawing 1131\, executed the previous year and also subtitled Whirls and Twirls\, which LeWitt created for the Wadsworth Atheneum in Hartford. The curving arches and brilliantly colored bands add an overwhelming vitality to the 1800-square feet of wall space surrounding a Beaux-Arts style marble staircase. \nWhirls and Twirls is an example of LeWitt’’s highly saturated colorful later works made in acrylic. While the forms are curvilinear\, playful and seem almost random\, they are drawn according to an exacting set of guidelines. The bands are a standard width\, for example\, and no colored section may touch another section of the same color. \nBackstory\nTo ensure that no two bands of the same color touch\, the draftsmen color-coded the bands with post-it notes before applying paint to the wall. Despite the color-coding\, a few squares of the same color ended up touching and had to be painted over. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2015/12/1.mp4\n
URL:https://massmoca.org/event/walldrawing1152/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/1152-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010845Z
LAST-MODIFIED:20181128T154109Z
UID:12273-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 130
DESCRIPTION: \nGrid and arcs from four corners. (ACG 103) \nMarch 1972 \nBlack pencil \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation \nPaul Toner residence\, New York \nFirst Drawn By \nS. Kato\, Ryo Watanabe \nMASS MoCA Building 7\nGround Floor \nBy 1971\, Sol LeWitt had begun to add arcs and circles to his vocabulary. In 1972\, he created a book\, “Arcs\, Circles\, and Grids\,” for Kunsthalle Bern\, Switzerland\, which contained pen and ink drawings depicting all possible combinations of the three elements in the title. These combinations take into account both the type of line (arc\, circle\, grid) and all the possible points on a wall from which an arc can emanate (the center\, the four corners\, and the four midpoints of the sides.) Many of the combinations in the book also were used as plans for wall drawings\, both before and after the book’’s publication. \nTo create the enormous arcs and circles required for these wall drawings\, which include Wall Drawing 130\, the draftsmen work with giant compasses\, which have holes drilled into them at intervals\, indicating the placement of the arcs and circles. \n
URL:https://massmoca.org/event/walldrawing130/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_130.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010845Z
LAST-MODIFIED:20181128T163559Z
UID:12274-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 958
DESCRIPTION: \nSplat. \nNovember 2000 \nAcrylic paint \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation\nPaceWildenstein\, New York \nFirst Drawn By\nTakeshi Arita\, Cristina Caterinangeli\, Sachiko Cho\, Kevin Oster \nMASS MoCA Building 7\nThird Floor \nWall Drawing 958 was first created at PaceWildenstein gallery for an exhibition that ran concurrently with Sol LeWitt’’s retrospective at the Whitney Museum of American Art. The brilliant colors and animated form of this wall drawing illustrate the playful mood that began to pervade LeWitt’’s work in the late 1990s. Both the title and shape of Splat\, for example\, recall the language and energy of comic strips. Unlike many of his earlier drawings\, which could be drawn according to a system of instructions\, the eccentric shape of Splat is drawn from a projection of a sketch. \nThe dynamism of the form is matched by the vibrancy of the drawing’’s highly saturated colors; in 1997 LeWitt’’s palette expanded to include secondary colors (purple\, orange\, green) when he switched from using washes of India ink to employing acrylic. The use of paint fundamentally altered the style and technique of the wall drawings which became increasingly vivid. Despite his introduction of paint as a medium\, the artist consciously retained the term “wall drawing” for these works. \nBackstory\nTo achieve such brilliant colors\, the draftsmen who worked on Wall Drawing 958 had to apply between ten and twelve coats of paint for each color. For the first five or six coats\, they worked to build up each color. For each of the last five or six coats\, the draftsmen watered down the paint slightly more for finishing. To eliminate brush marks\, the draftsmen apply the paint with the tip of a paintbrush in a cross-hatching motion. After each coat is finished\, brush hairs and globs of paint are removed with a razor blade. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/6.mp4\n
URL:https://massmoca.org/event/walldrawing958/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_958.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010845Z
LAST-MODIFIED:20181128T163623Z
UID:12275-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 797
DESCRIPTION: \nThe first drafter has a black marker and makes an irregular horizontal line near the top of the wall. Then the second drafter tries to copy it (without touching it) using a red marker. The third drafter does the same\, using a yellow marker. The fourth drafter does the same using a blue marker. Then the second drafter followed by the third and fourth copies the last line drawn until the bottom of the wall is reached. \nOctober 1995 \nBlack\, red\, yellow\, blue marker \nCourtesy of the Estate of Sol LeWitt (Designated for Yale University Art Gallery) \nFirst Installation\nMead Art Museum\, Amherst College\, Amherst \nFirst Drawn By\nJeffrey Howington\, Andrea Latvis\, Peggy Soung\, Lisa Yurwit \nMASS MoCA Building 7\nGround Floor \nWall Drawing 797 was first created for the 1995 exhibit “In Two Worlds: Graphic Art by Modern Sculptors” at the Mead Art Museum\, Amherst College. The drawing\, conceived with student participation in mind\, was first executed by four Amherst College sculpture students. The wall drawing represents a return to the linear repetition that Sol LeWitt explored in his wall drawings of the late 1960s and 19‘70s. The instructions for the drawing direct draftsmen to copy\, without touching\, the line made by the previous draftsman. The repeated process becomes an exploration of the intricacies of the line. This reflects LeWitt’’s belief that “the draftsman’’s contributions are unable to be predicted by the artist…”. As the draftsman repeatedly copies the line\, it becomes drastically altered from its original state\, and the smooth original line becomes more and more nervous as it is redrawn. \nThe ‘copy-line’ concept is not unique to Wall Drawing 797. In Wall Drawing 123\, for instance\, LeWitt instructs a first draftsman to draw a not-straight vertical line from the floor to the highest point on the wall that he or she can reach. Each of the following draftsmen copy this line\, extending his or her lines as far as they can reach. Once all draftsmen have drawn a line\, the process repeats. Other ‘copy-line’ drawings have been executed in conjunction with music. \nBackstory\nBefore drawing the initial line\, the head draftsman drew test lines on paper and copied them in order to see how the different lines would evolve. The line that he eventually chose to draw in black marker on the wall was inspired by the hills of the surrounding Berkshires landscape. Each copy of this undulating line took the draftsman between ten and twenty minutes to execute. The process of copying takes intense focus. If draftsmen feel that they are about to lose focus and deviate from the previous line\, they take a break\, making sure to start at the exact spot from which they lifted the marker. \n
URL:https://massmoca.org/event/walldrawing797/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/797-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010845Z
LAST-MODIFIED:20181128T163633Z
UID:12276-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 85
DESCRIPTION: \nA wall is divided into four horizontal parts. In the top row are four equal divisions\, each with lines in a different direction. In the second row\, six double combinations; in the third row\, four triple combinations; in the bottom row\, all four combinations superimposed. \nJune 1971 \nColored pencil \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation\nLeWitt residence\, New York \nFirst Drawn By\nSol LeWitt \nMASS MoCA Building 7\nGround Floor \nSol LeWitt’’s early wall drawings\, which feature lines going in the four basic directions\, embody his interest in systematically exhausting all possible combinations of different elements. This process can be seen in Wall Drawing 47 (located nearby at MASS MoCA)\, in which the artist depicts all fifteen possible combinations of the four basic types of lines. These combinations are drawn in graphite in fifteen vertical panels that divide the wall. Wall Drawing 85 reiterates this process using colored pencil. \nThe artist’’s understanding of the superimposition of color came from his knowledge of printmaking and commercial printing. The red\, yellow\, blue\, and black pencil that he uses to draw the four basic types of lines mimic the ink colors that commercial printers use. By layering these four basic colors\, as is done in printing\, LeWitt produces secondary colors. \n
URL:https://massmoca.org/event/walldrawing85/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/85-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010845Z
LAST-MODIFIED:20181128T163648Z
UID:12277-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 154
DESCRIPTION: \nA black outlined square with a red horizontal line from the midpoint of the left side toward the middle of the right side. \nApril 1973 \nRed and black crayon \nCourtesy of the Estate of Sol LeWitt (Designated for Yale University Art Gallery) \nFirst Installation\nMuseum of Modern Art\, Oxford \nFirst Drawn By\nSol LeWitt\, Nicholas Logsdail \nMASS MoCA Building 7\nGround Floor \nLocated on the same wall as wall drawings Wall Drawing 160\, Wall Drawing 164 and Wall Drawing 159\, Wall Drawing 154 presents the viewer with an opportunity to explore Sol LeWitt’’s creative process. Each of these drawings explores the concept of finding lines within a square in a different way\, exhibiting the importance of permutations in LeWitt’’s work. The exhaustion of the possibilities of a simple geometric grammar forms the basis of LeWitt’’s artistic practice\, and these four early examples of ‘location drawings’ provide a visual example of his working methods. \nFrom these square and line-based drawings\, LeWitt extrapolated the idea of shape and line construction as a fundamental process of drafting to create a series of location drawings. These works show an artistic interest in the geometry of the wall\, in geometric point-finding\, and in the potential for communicating an image through textual instruction. The instructions for Wall Drawing 154 are clear and uncomplicated\, but allow endless nuance and subtle differentiation in the actual execution of the drawing. While LeWitt specifies the dimensions of the square and the position of the line\, he neglects to specify how long the line should be\, turning that responsibility over to the draftsman. \nThe simultaneous clarity and open-endedness of the instructions illustrate LeWitt’’s interest in the wall drawing as both a meticulously rendered art object\, and an expression of an abstract idea. That the appearance of the drawing will vary with each installation underscores LeWitt’’s prioritizing the idea over its physical manifestation. \n
URL:https://massmoca.org/event/walldrawing154/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/detail-page-half-width-154.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010845Z
LAST-MODIFIED:20181128T163708Z
UID:12278-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 414
DESCRIPTION:Drawing Series IV (A) with India ink washes. (24 Drawings.) \nMarch 1984 \nIndia ink wash \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation\nModerna Museet\, Stockholm \nFirst Drawn By\nDavid Higginbotham\, Jo Watanabe \nIn the early 1980’s Sol LeWitt began to use India ink and colored ink washes. The ink is applied with soft rags and dabbed onto the walls. The technique gives the works a fresco-like quality. LeWitt frequently applied the same systems he had used when working with pencil to the new medium. Wall Drawing 414 and the drawing located on the opposite wall\, Wall Drawing 413\, are both iterations of LeWitt’’s Drawing Series IV. Between 1969 and 1970 LeWitt created four drawing series on paper. In each series he applied a different system of change to each of twenty-four possible combinations of a square divided into four equal parts\, each containing one of the four basic types of lines LeWitt used. The result is four possible permutations for each of the twenty-four original units\, which are presented in a grid of twenty-four sets of four squares\, each divided into four equal parts. In Drawing Series IV\, LeWitt used the ‘Cross Reverse’ method of change\, in which the parts of each of the original units are crossed and reversed. \nWhile Wall Drawing 413 illustrates the drawing series in color\, Wall Drawing 414 illustrates the series in gray ink washes. The former wall drawing mimics a colored pencil iteration of the drawing series where the lines are simple\, or unlayered. Wall Drawing 414\, on the other hand\, is based on a version of the drawing series where the artist superimposed the four types of lines on top of each other. Translated into ink\, this process of layering lines becomes a process of layering many coats of ink wash. These layers produce four distinct gradations in gray tone. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/3.mp4\n
URL:https://massmoca.org/event/walldrawing414/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/414-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010845Z
LAST-MODIFIED:20181128T163715Z
UID:12279-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 462
DESCRIPTION: \nOn four walls\, one room\, arcs 4 inches (10 cm) wide\, from the midpoints of four sides\, drawn with alternating bands of gray and black ink wash (Detail: three walls). \nJanuary 1986 \nIndia ink wash \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation\nGalleria Studio G7\, Bologna\, Italy \nFirst Drawn By\nSergio Cavazzini\, Mauro Pitaccolo\, Anthony Sansotta\, Sergio Sarra \nMASS MoCA Building 7\nGround Floor \nWall Drawing 462 is one of a series featuring ink wash arcs and circles in varying colors and orientations. This series represents one of the many in which Sol LeWitt applied a new medium to the themes first used in his pencil wall drawings. In the early 1970s the artist created a series of wall drawings presenting arcs\, circles\, and sometimes grids. As in these pencil drawings\, the draftsmen drew the arcs in Wall Drawing 462 using a giant compass. The centers of the arcs\, or the points from which the compass is rotated\, are defined as the center of the wall and the midpoints of the sides of the walls\, points that LeWitt repeatedly uses as part of his lexicon\, along with the four corners of walls. By using these basic points on the wall as reference spots\, the artist removed particular subjective decision-making from the structure and composition of many of his works. \nIn the original January 1986 installation of Wall Drawing 462 at Galleria Studio G7 in Bologna\, Italy\, the drawing was executed on four walls of a room with a vaulted ceiling. Unlike the three square-topped walls on which the drawing was executed at MASS MoCA\, the scallop-topped walls highlighted the pattern of the arcs\, creating the sense that the viewer is completely enveloped by the hypnotic gray and black bands. \n
URL:https://massmoca.org/event/walldrawing462/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/462-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431108
DTSTAMP:20260405T163351
CREATED:20151211T010845Z
LAST-MODIFIED:20181128T144728Z
UID:12280-1226793600-2330553599@massmoca.org
SUMMARY:Wall Drawing 957
DESCRIPTION: \nForm derived from a cube. \nNovember 2000 \nBlack pencil \nCollection of Deborah Ronnen\, Rochester \nFirst Installation\nWhitney Museum of American Art\, New York \nFirst Drawn By\nMio St. Clair \nMASS MoCA Building 7\nGround Floor \nWall Drawing 957\, first executed in 2000 at the Whitney Museum of American Art\, presents two isometric forms derived from a cube. These forms are rendered isometrically\, a method that Sol LeWitt first began to experiment with in the early 1980s. Angled toward the viewer\, the irregular cubic forms imply volume but do not suggest any kind of spatial recession\, maintaining the two-dimensionality of the wall’’s flat surface plane. Drawn in black pencil\, Wall Drawing 957 employs the four basic directions of line: horizontal\, vertical\, diagonal left\, and diagonal right. The four absolute lines are superimposed sequentially\, depicting their single\, double\, triple\, and quadruple combinations\, thus resulting in four degrees of density that delineate the planes of the cubic forms. \n
URL:https://massmoca.org/event/walldrawing957/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_957-002.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010846Z
LAST-MODIFIED:20181128T163727Z
UID:12281-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 422
DESCRIPTION: \nThe room (or wall) is divided vertically into fifteen parts. All one-\, two-\, three-\, and four-part combinations of four colors\, using color ink washes. \nNovember 1984 \nColor ink wash \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nStedelijk Museum\, Amsterdam \nFirst Drawn By\nAnthony Sansotta\, Marien Schouten\, Wim Starkenburg\, Willem Wolff \nMASS MoCA Building 7\nSecond Floor \nIn the mid-1980s Sol LeWitt\, who had already been working with ink washes for a few years\, began to layer the four basic colors of ink (gray\, yellow\, red\, and blue)\, creating a variety of different hues. Wall Drawing 422 depicts gray\, yellow\, red\, and blue and all of their possible composites\, or two-\, three-\, and four-part combinations. LeWitt had previously applied this system to colored pencil\, as seen in Wall Drawing 85\, also on display at MASS MoCA on the ground floor. \nThe wall for Wall Drawing 422\, divided into fifteen panels for each of the fifteen possible combinations\, has four panels containing a single color\, six panels containing combinations of two colors\, four panels with combinations of three colors\, and one panel with all four basic colors. The exacting mathematical permutations that assign the colors to the panels\, when executed in ink\, result in gem-like hues. In a sense\, this wall drawing serves as a template for the color palette of other ink wall drawings. \nBackstory\nOnce completed\, ink wash wall drawings such as Wall Drawing 422 often have to be touched up in areas where the primer is exposed. The wall primer\, which is painted on before the ink is applied\, is sometimes visible along the borders of different colored sections. This occurs where the sections were not taped off firmly enough. To remedy this problem\, the draftsmen use fine-tipped paintbrushes to paint in ink\, covering the exposed white areas. \n
URL:https://massmoca.org/event/walldrawing422/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/422-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20331117
DTSTAMP:20260405T163351
CREATED:20151211T010846Z
LAST-MODIFIED:20170512T160252Z
UID:12282-1226793600-2015798399@massmoca.org
SUMMARY:Wall Drawing 11
DESCRIPTION: \nA wall divided horizontally and vertically into four equal parts. Within each part\, three of the four kinds of lines are superimposed. \nMay 1969 \nBlack pencil \nYale University Art Gallery\nGift of Anna Marie and Robert F. Shapiro\, B.A. 1956 \nFirst Installation\nPaula Cooper Gallery\, New York \nFirst Drawn By\nJerry Orter\, Adrian Piper\, Sol LeWitt \nSol LeWitt executed his first wall drawing in 1968 at Paula Cooper Gallery in New York. LeWitt’’s drawings – both on paper and on the wall – grew out of the artist’’s serial\, three-dimensional work which systematically investigated variations on modular cube structures. LeWitt would use the same system of permutations and variations in his drawings. \nIn 1968 Seth Siegelaub invited LeWitt to contribute drawings to “The Xerox Book\,” a compilation of works by a selection of artists whose work was primarily three-dimensional. For his section\, LeWitt created a system of twenty-four permutations of the most basic element of drawing – the line. LeWitt used a simple vocabulary of the four basic directions in which lines can be drawn: horizontal\, vertical\, 45º diagonal right and 45º diagonal left. The artist worked out a system of twenty-four permutations made by rotating the lines (drawn inside squares) in four sections of four. Later he would also superimpose the lines on top of one another\, as seen in Wall Drawing 11. Not long after he created Drawings Series I\, II\, III\, IV for “The Xerox Book\,” LeWitt realized his first wall drawing\, making the radical move from drawing on paper to the wall. \nLeWitt’’s earliest wall drawings\, including Wall Drawing 11\, all are done in hard\, black pencil\, a material that rendered the work as two-dimensional as possible and maintained the integrity of the wall as a plane. By drawing directly on the wall\, Lewitt limited the work’s duration; ultimately the wall drawings are painted over. Yet\, despite this temporary aspect of the drawings\, the idea is permanent\, and the drawings can be redrawn on another wall by another person. \nBackstory\nFor these drawings\, the LeWitt studio uses 6H mechanical pencil leads from Staedtler\, meticulously sharpened and then taped together in small bundles\, the width of the pencil leads themselves yielding the spacing between lines. Each single lead is good for about 10’ lines before the bundles must be cut apart and the leads separated\, re-sharpened and re-assembled. \n
URL:https://massmoca.org/event/walldrawing11/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/11-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010846Z
LAST-MODIFIED:20181128T163749Z
UID:12283-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 38
DESCRIPTION: \nTissue paper cut into 1½-inch (4 cm) squares and inserted into holes in the gray pegboard walls. All holes in the walls are filled randomly. \nApril 1970 \nColored tissue papers\, gray pegboard walls \nPanza Collection \nFirst Installation\nTokyo Biennial\, Tokyo \nFirst Drawn By\nUnknown \nMASS MoCA Building 7\nGround Floor \nIn Wall Drawing 38\, small rolls of colored tissue project from the surface of the wall. Viewers moving through the gallery space are confronted with shifting arrays of color. The sculptural quality of the work may seem to subvert Sol LeWitt’’s original objective in making drawings directly on the wall: to make art “as two-dimensional as possible” by dispensing with the canvas.1 Having accepted the wall as his substrate\, however\, LeWitt also accepted the inherent eccentricities of the walls he was given as a “necessary part” of the finished work. “Different kinds of walls\,” he claims in a statement entitled ‘Wall Drawings\,’ “make for different kinds of drawings.”2 In accordance with this assertion\, the unique form of Wall Drawing 38 is a consequence of the wall conditions at the site of the original installation. In 1970\, LeWitt was commissioned to create a new wall drawing on the occasion of the Tenth Tokyo Biennale\, but the gallery space provided was paneled in pegboard that could not be removed or covered. To make use of the pegboard wall LeWitt devised the technique of tightly rolling squares of tissue and inserting them in the pegboard holes. \nThe instructions call for four walls. The first wall\, omitted here\, contains only white tissue. Each subsequent wall contains an additional color: the second wall has equal amounts of white and yellow tissue; the third has equal amounts of white\, yellow\, and red; and the fourth has equal amounts of white\, yellow\, red\, and blue. The colors are randomly distributed. This arrangement reflects LeWitt’’s interest in an “objective method of organization as a reaction against the idea that art was composed with great sensitivity by the artist throughout the production of the work.”3 Although LeWitt never employed the pegboard and tissue technique again in any other drawing\, he notes in a statement about the work that it “was the source of much of his serial work.”4 \nBackstory\nTo insert the squares of tissue paper\, the draftsmen devised a system involving wearing harnesses which hold plastic cups containing the tissue paper pieces. Before starting they sort the tissue paper into the cups\, making sure that there are an equal number of squares of each color per wall. To cover the entire wall evenly the draftsmen situate themselves both on and under scaffolding. Once in place\, they role the tissue paper tightly around skewers\, using the skewers to guide the paper into the holes. \n1 Sol LeWitt\, “Wall Drawings\,” Arts Magazine 44.6 (1970).\n2 Ibid.\n3 Sol LeWitt et al\, Sol LeWitt (New York\, NY: Museum of Modern Art\, 1978) 77.\n4 Ibid. \n
URL:https://massmoca.org/event/walldrawing38/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/38-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010846Z
LAST-MODIFIED:20181128T155925Z
UID:12284-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 335
DESCRIPTION: \n(Detail: square and circle) \nOn four black walls\, white vertical parallel lines\, and in the center of the walls\, eight geometric figures (including cross\, X) within which are white horizontal parallel lines. The vertical lines do not enter the figures. \nMay 1980 \nWhite crayon on black wall \nTate: Purchased 1980 \nFirst Installation\nLisson Gallery\, London \nFirst Drawn By\nDavid Connearn\, Jo Watanabe \nMASS MoCA Building 7\nSecond Floor \nThroughout the 1970s Sol LeWitt expanded his vocabulary to include broken lines\, not-straight lines\, lines drawn at random\, arcs\, circles\, and lines demarcating basic geometric shapes. These shapes originally included circles\, rectangles\, and triangles\, but soon extended to rectangles\, trapezoids and parallelograms\, which LeWitt considered to be secondary shapes. At the point that Wall Drawing 335 was conceived\, the artist had begun to fill in the shapes with parallel lines. \nLeWitt also adopted a new material around this time; he replaced the fine pencil lines of the early drawings with thicker markings created by crayon. In the mid-1970s LeWitt also began working with black\, yellow\, red\, and blue backgrounds. \nBackstory\nWall Drawing 335 was originally executed in white chalk. The chalk proved to be extremely dusty\, however\, and LeWitt eventually switched to a water-soluble white crayon\, like those used to create the drawing at MASS MoCA. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/4.mp4\n
URL:https://massmoca.org/event/walldrawing335/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/335-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010846Z
LAST-MODIFIED:20181128T155940Z
UID:12285-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1042
DESCRIPTION: \nIsometric form. \nMay 2002 \nAcrylic paint \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nDonald Young Gallery\, Chicago \nFirst Drawn By\nAnthony Elms\, John Hogan\, Colleen Kelsey \nExecuted for an exhibit of new work by Donald Young’’s gallery artists\, Wall Drawing 1042 is an example of Sol LeWitt’’s acrylic wall drawings first created in the early 2000s\, which frequently explored open isometric forms using bold acrylic colors. These drawings represent a continuation of the ideas that the artist explored in his isometric form wall drawings created in ink between the 1980s and the early 1990s. As in these earlier ink drawings\, the form in Wall Drawing 1042 is drawn using isometric projection\, a geometric method used to present three-dimensional objects on two-dimensional surfaces in which the three axes of the object appear equally foreshadowed. Thus\, the geometry of the form is self-referential: it does not correspond to any vanishing point on the wall. By using a mode of perspective that makes the form appear to float in a space that does not recede\, LeWitt maintains the two-dimensionality of the wall support. \nThe rectangular isometric form also relates to LeWitt’’s open cube structures\, which consist of the open framework of cubes constructed in wood or metal\, sometimes incomplete (with one or more sides missing)\, and often joined together as modular units. In Wall Drawing 1042 only the base and the sides of the rectangular form are drawn\, suggesting that the shape continues beyond the boundaries of the wall. \nAs with other acrylic wall drawings from this time period\, LeWitt uses a vibrant color palette of primary and secondary colors. The result is an opaque paint surface\, where perspectival space and precise forms are alive with optical color vibration. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/16.mp4\n
URL:https://massmoca.org/event/walldrawing1042/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/1042-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010846Z
LAST-MODIFIED:20181128T160000Z
UID:12286-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 159
DESCRIPTION: \nA black outlined square with a red diagonal line from the lower left corner toward the upper right corner; and another red line from the lower right corner to the upper left. \nApril 1973 \nRed and black crayon \nPrivate Collection\, Durham\, North Carolina\n\nFirst Installation\nMuseum of Modern Art\, Oxford \nFirst Drawn By\nSol LeWitt\, Nicholas Logsdail \nMASS MoCA Building 7\nGround Floor \nThis is the earliest example of Sol LeWitt’’s ‘location drawings’ on view at MASS MoCA. In these location drawings\, LeWitt uses written instructions to describe geometric constructions on the wall. Whereas earlier drawings began to explore the possibilities of combining four different line directions and four different colors\, this series explores the various results achieved by drawing straight lines to and from nine easily defined points. Crafting his drafting instructions in terms of the corners of the square\, the midpoints of each side\, and the center\, LeWitt sets the vocabulary of construction for subsequent location drawings\, the instructions for which increase in complexity. \nBackstory\nThe level of specific instruction in these location drawings completes a spectrum from very precise and explicit directions to almost completely open-ended and interpretive descriptions. All seven examples of this type of drawing on view in this exhibit were originally executed by Sol LeWitt himself. While his original solutions to the instructions provide a template for subsequent installations of these drawings\, every installation provides the draftsman executing the wall drawing the opportunity to interpret the language for him or herself. \n
URL:https://massmoca.org/event/walldrawing159/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/detail-page-half-width-159.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010846Z
LAST-MODIFIED:20181128T160022Z
UID:12287-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1112
DESCRIPTION: \nSquare with broken bands of color. \nDecember 2003 \nAcrylic paint \nCollection of Henry S. McNeil \nFirst Installation\nRhona Hoffman Gallery\, Chicago \nFirst Drawn By\nJuozas Cernius\, Vincent Como\, Sandra Dillon\, John Hogan\, Josh Mills \nMASS MoCA Building 7\nThird Floor \nSquare with broken bands of color is an example of the exuberant wall drawings that Sol LeWitt created in the late 1990s and early 2000s using acrylic paint. Many of the works from this time are seen as explorations of the optical effects of color and pattern. The form and appearance of the work are dictated by certain guidelines which are determined by the artist; no colored band\, for example\, may touch another band of the same color. LeWitt also applied these guidelines to other forms\, including Circle with broken bands of color and Whirls and Twirls. \nBackstory\nLike many of LeWitt’s wall drawings which use acrylic paint\, Wall Drawing 1112 includes all the primary and secondary colors: red\, yellow\, blue\, and green\, orange\, and purple. Previously\, when using colored pencil\, crayon\, or ink\, LeWitt only used the three primary colors and gray or black. He often layered these hues to create secondary colors. The use of the secondary acrylic colors evolved from this earlier layering process. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2015/12/1.mp4\n
URL:https://massmoca.org/event/walldrawing1112/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/1112-1152.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010846Z
LAST-MODIFIED:20181128T160037Z
UID:12288-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 419
DESCRIPTION: \nThe wall is bordered and divided horizontally and vertically into four equal parts with a 6-inch (15 cm) black ink band. Each quarter has alternating parallel 6-inch (15 cm) bands of white and color ink bands. Upper left: gray; upper right: yellow; lower left: red; lower right: blue. \nSeptember 1984 \nColor ink wash \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation\nYvon Lambert Gallery\, Paris \nFirst Drawn By\nTakeshi Arita\, David Higginbotham \nMASS MoCA Building 7\nGround Floor \nWhen Sol LeWitt began using ink wash for his wall drawings in the early ‘1980s\, he frequently reiterated the systems that he had originated in pencil. For example\, Wall Drawing 419 represents an adaptation of the artist’’s most basic presentation of colored pencil lines (an area divided into four equal parts\, each part containing one of the four basic types of line which are executed in a specific color.) The grid structure eliminates compositional hierarchy: each type of line is given the same priority. Unlike the earlier pencil iterations\, the lines in Wall Drawing 419 have been turned into wider bands\, and the colors are much brighter in ink than in colored pencil. The four parts of the drawing are bordered with black bands\, which further increase the boldness of the drawing. \n
URL:https://massmoca.org/event/walldrawing419/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/419-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010846Z
LAST-MODIFIED:20181128T162001Z
UID:12289-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 915
DESCRIPTION: \nArcs\, circle\, and irregular bands. \nSeptember 1999 \nAcrylic paint \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nPaula Cooper Gallery\, New York \nFirst Drawn By\nDana Carlson\, Christina Hejtmanek\, James Sheehen\, Emily Ripley \nMASS MoCA Building 7\nThird Floor \nWall Drawing 915 can be read as an amalgamation of many of Sol LeWitt’’s formal themes from the 1960s through the 1990s. These include his rectangles within rectangles\, a motif he first explored in the sculptural pieces from the 1960s\, and the circles and arcs he began to work with in the 1970s. The drawing also features framing devices\, first employed in the 1980s\, and presents the undulating wave forms from the late 1990s. The work’s palette consists of intense\, brilliant hues. The two areas that have been left white refer back to the wall itself\, reinforcing the flat surface plane and emphasizing the acrylic medium and saturated colors. Wall Drawing 915 is indicative of the increasingly expansive and playful compositions that the artist began to create in the 1990s. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/11.mp4\n
URL:https://massmoca.org/event/walldrawing915/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_915.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010846Z
LAST-MODIFIED:20181128T162023Z
UID:12290-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 792
DESCRIPTION: \nBlack rectangles and squares. \nJune 1995 \nDispersion paint \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nLudwigsburger Schlossfestpiele\, Ludwigsburg\, Germany \nFirst Drawn By\nAlge Algermissen\, Sabine Griesingen\, Paul James Haworth\, Hartmt Hengerer\, Anthony Sansotta\, Jogi Wegrzyn\, Jeroen van der Velden\, Miriam Wawrzihek \nMASS MoCA Building 7\nSecond Floor \nApplying horizontal and vertical white bands to a field of deep black\, Sol LeWitt creates a composition of rectangles and squares in Wall Drawing 792. Throughout his career\, LeWitt explored geometric forms\, especially the square and the cube. LeWitt’’s interest in these simple forms is often linked to the artist’’s study of Russian Constructivism\, De Stijl\, and the German Bauhaus. Wall Drawing 792 is reminiscent of the stripped-down geometric abstractions of Kazimir Malevich’s Suprematist paintings of black squares and Piet Mondrian’s grid compositions of vertical and horizontal lines. \nThe subtitle for Wall Drawing 792 is simply “Black rectangles and squares\,” allowing the work to be translated and interpreted to fit within different structural parameters. First installed at the Schlossfestpiele in Ludwigsburger\, Germany\, in 1995\, large black rectangles\, primarily vertical in orientation\, were painted directly onto the white gallery walls. The black rectangles filled the large domed bays in the space\, emphasizing its unique architecture. A slightly different version of the piece\, Wall Drawing 792B\, was installed at the University of Michigan Art Museum the following year. There\, open white squares appeared on a field of black\, creating smaller and more numerous black rectangles. MASS MoCA presents yet another iteration of Wall Drawing 792\, exhibited on two rectangular walls\, the shapes are smaller\, creating a more complex grid. \n
URL:https://massmoca.org/event/walldrawing792/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/792-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010846Z
LAST-MODIFIED:20181128T162034Z
UID:12291-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 19
DESCRIPTION: \nA wall divided vertically into six equal parts\, with two of the four kinds of line directions superimposed in each part. \nSeptember 1969 \nBlack pencil \nPanza Collection \nFirst Installation\nDwan Gallery\, New York \nFirst Drawn By\nSteven Gwon\, Chris Hansen\, T. Julia\, Al Williams\, Sol LeWitt \nMASS MoCA Building 7\nGround Floor \nWall Drawing 19 is one of four drawings that were first shown as a four-part series drawn on the four walls of the Dwan Gallery in 1969. For Wall Drawing 19 Sol LeWitt divided the east wall of the Dwan gallery into six vertical panels\, each containing two of the four kinds of line directions (vertical\, horizontal\, diagonal left\, diagonal right) superimposed on top of one another. \n
URL:https://massmoca.org/event/walldrawing19/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/19-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010846Z
LAST-MODIFIED:20181128T162044Z
UID:12292-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 386
DESCRIPTION: \nStars with three\, four\, five\, six\, seven\, eight\, and nine points\, drawn with a light tone India ink wash inside\, an India ink wash outside\, separated by a 6-inch (15 cm) white band. \nJanuary 1983 \nIndia ink wash \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nCarol Taylor Art\, Dallas \nFirst Drawn By\nJulie Jarvis\, Renee Miliken\, Anthony Sansotta \nMASS MoCA Building 7\nSecond Floor \nLike nearby Wall Drawing 396\, Wall Drawing 386 consists of a progression of stars\, with an increased number of points in each subsequent figure. While the star shape may seem to be a departure from Sol LeWitt’’s vocabulary of simple shapes and construction methods\, the wall drawing actually represents a continuation of his interest in shapes\, sequences\, pattern and geometric problem-solving. \nIn order to determine the shape of the star\, a regular polygon is inscribed in a circle. The number of sides the polygon has determines the number of points the star will have. The regularity of the original polygon ensures that the star’s points will be evenly spaced. In short\, these apparently complex forms are iterations of the basic visual and geometric vocabulary to which LeWitt has committed. \nThe presence of the India ink wash borders around each of the stars is seen again in later works such as Wall Drawing 391\, in which the black boundaries and the whiteness of the wall provide a distinct component of the drawing. \nBackstory\nThe seven-pointed star proved difficult to construct due to the inaccuracies inevitable when estimating using ruler and compass\, the preferred tools of the LeWitt crew. In order to approximate the shape of this star as closely as possible\, an intern who studies math was brought in to formulate a new construction method. The same draftsman talks about his interest in LeWitt’’s work as being related to his interest in pure math: “”the same sort of abstract beauty that inspires mathematicians… also inspires Sol’’s work. For instance\, the idea of laying out your parameters and exhausting… all the possible combinations\, and then making so explicit your process\, is something that I just find so inspiring and beautiful in the same way that I find pure math.”” \n
URL:https://massmoca.org/event/walldrawing386/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/396-386.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010847Z
LAST-MODIFIED:20181128T162055Z
UID:12293-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1186
DESCRIPTION: \nScribbles: Inverted curve (vertical). \nOctober 2005 \nGraphite \nCollection of Alessandro Maccaferri \nFirst Installation\nGalleria Studio G7\, Bologna\, Italy \nFirst Drawn By\nAsmir Ademagic\, Rachela Abbate\, Marco Bertozzi\, Elisa Cancucci\, Alessandra Frisan\, Elena Latini\, Luca Lolli\,Viviana Longo\, Benny Mangone\, Juri Marsigli\, Maria Lucrezia Schiavarelli\, Anthony Sansotta\, Francesca Simeone\, Alessio Tugnoli\, Simone Vagnetti \nMASS MoCA Building 7\nThird Floor \nWall Drawing 1186 is one of three scribble drawings that were first designed for Galleria Studio G7 in Bologna. These three drawings — Scribbles: Curve\, Scribbles: Inverted curve (vertical) and Scribbles: Inverted curve (horizontal) — were done in the scribble technique that LeWitt explored from 2005 to 2007. Although previous wall drawings called for a scribble-like application of pencil or crayon\, these recent scribble drawings differ in that they have gradations of tone created by varying densities of graphite. Following the artist’’s diagram the draftsmen use string to plot out the tonal gradations\, from level one (the lightest tone) to level six (the darkest). \nThese recent drawings\, the artist’’s culminating works\, may seem a departure from his rigorously ordered earlier work\, which emphasized the flat plane of the wall. The depth created by the tonalities in the scribble drawings has inspired comparisons to infinite space\, and invites reconsideration of LeWitt’’s earlier focus on the flatness of the image plane. In addition\, the graphite’’s reflective sheen is suggestive of metal. However\, the repetitive nature of the scribble relates to LeWitt’’s lifelong interest in repetitive mark-making\, and the organic nature of the scribbles correlates with his later works that explored more free-form shapes. \nBackstory\nThe first installation of Wall Drawing 1186 was completed by a team of Italian art students under the direction of Anthony Sansotta\, one of LeWitt’’s longtime draftsmen. The drawing challenged the drafters to work carefully and cooperatively in order to create a uniform field without leaving a distinct personal trace. In order to ensure the maintenance of a uniform field\, one draftsman will occasionally stand on a ladder and use a laser pointer to ‘conduct’ the other draftsmen. The ‘conductor’ indicates areas of the drawing that are not dense enough. The draftsmen also must be careful not to create clusters\, or areas where scribbles build up to a darker gradation than indicated. \n
URL:https://massmoca.org/event/walldrawing1186/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_1186.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010847Z
LAST-MODIFIED:20181128T163759Z
UID:12294-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 17
DESCRIPTION: \nFour-part drawing with a different line direction in each part. \nSeptember 1969 \nBlack pencil \nAlbright Knox Art Gallery\, Buffalo\, New York. The Panza Collection and Geroge B. and Jenny R. Mathews Fund\, by exchange\, George B. and Jenny R. Mathews fund and Charles Clifton Fund\, by exchange\, 2008 \nFirst Installation\nDwan Gallery\, New York \nFirst Drawn By\nSteven Gwon\, Chris Hansen\, T. Julia\, Al Williams\, Sol LeWitt \nMASS MoCA Building 7\nGround Floor \nSol LeWitt’’s early wall drawings were often treated as discrete areas drawn on a planar ground; the wall acted like a sheet of paper or any drawing surface. The artist slowly began to address the wall as an architectural element\, however\, and began to incorporate his drawings more fully into their surroundings. \nFor an exhibition at the Dwan Gallery in 1969\, LeWitt treated the four walls of the gallery as a unified installation. Each of the walls contained part of a series incorporating the four absolute lines (horizontal\, vertical\, diagonal right\, diagonal left) drawn in different combinations. \nWall Drawing 17 contains the first part of the series: four vertical panels each contain one of the four absolute line directions. \nBackstory\nTo create Wall Drawing 17 three draftsmen worked together\, taking turns making bundles of three sticks of graphite\, holding the straight edge\, and drawing the lines. The diagonal lines are much more complicated to draw than the vertical and horizontal lines; thus they are left up to the head draftsman. Before they are ready to draw on the wall\, the less experienced draftsmen practice drawing lines on drywall board. \n
URL:https://massmoca.org/event/walldrawing17/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/17-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010847Z
LAST-MODIFIED:20181128T163232Z
UID:12295-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 365
DESCRIPTION: \nA square divided horizontally and vertically into four equal parts\, each with a progressively darker gradation of gray. \nFebruary 1984 \nIndia ink wash and color ink wash \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation\nStedelijk Museum\, Amsterdam \nFirst Drawn By\nDavid Higginbotham\, Anthony Sansotta\, and others \nMASS MoCA Building 7\nGround Floor \nWall Drawing 365 was first installed in 1984 at the Stedelijk Museum\, Amsterdam\, as part of the “Sol LeWitt Wall Drawings 1968-1984” retrospective. In the exhibition this ink wash drawing would have stood out as a new direction for the artist; by the early 1980s\, however\, LeWitt was working primarily with ink\, rather than pencil or crayon. The artist often used this medium to reiterate systems that had governed his early work made in pencil. Wall Drawing 365\, for instance\, is an ink version of Wall Drawing 56\, whose instructions read: “A square is divided horizontally and vertically into four equal parts\, each with lines in four directions superimposed progressively.” Instead of superimposing lines to create varying shades of gray\, the draftsmen produce gradations in gray tone by layering India ink wash. \nBackstory\nThe version of Wall Drawing 365 on display at MASS MoCA differs from its original installation at the Stedelijk Museum in its material. Originally all ink wall drawings were done in Pelican ink. However\, Pelican eventually altered its original formula\, changing the colors. The LeWitt Studio then switched to an acrylic paint made by Lascaux. The draftsmen dilute the acrylic paint with water and add gloss medium to it in order to maintain the integrity of the ink wash medium. \n
URL:https://massmoca.org/event/walldrawing365/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/365-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010847Z
LAST-MODIFIED:20181128T162133Z
UID:12296-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1211
DESCRIPTION: \nDrawing Series— Part I-–IV\, #1-–24\, A B. (192 drawings). \nAugust 2006 \nColored pencil \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nDia:Beacon\, Beacon\, New York \nFirst Drawn By\nLacey Fekishazy\, Mary Gagne\, Nick Kozak\, Roland Lusk\, Tanya Merrill\, Darin Roberts\, Anthony Sansotta \nMASS MoCA Building 7\nGround Floor \nBetween 1969 and 1970 Sol LeWitt created four Drawings Series\, which presented different combinations of the basic elements that governed many of his early wall drawings. In each series he applied a different system of change to each of twenty-four possible combinations of a square divided into four equal parts\, each containing one of the four basic types of lines LeWitt used (vertical\, horizontal\, diagonal left\, and diagonal right). The result is four possible permutations for each of the twenty-four original units. The system used in Drawings Series I is what LeWitt termed ‘Rotation;’ Drawings Series II uses a system termed ‘Mirror;’ Drawings Series III uses ‘Cross & Reverse Mirror;’ and Drawings Series IV uses ‘Cross Reverse’. \nWall Drawing 1211 features all four of the drawing series in two iterations – one of which is simple and one of which directs the draftsmen to superimpose\, or layer\, the lines. Each iteration presents a grid of twenty-four sets of four squares\, each divided into four equal parts. The resulting effect is that of four different patterns of colored squares on each wall. Also shown is a diagram that illustrates the entire wall drawing using the numbers 1-4 to signify the four different line directions. The diagram serves as an aid to help visitors decipher the drawing’s structure. \nWall Drawing 1211 highlights LeWitt’’s interest in seriality. The artist attributes this interest largely to the photographer Edward Muybridge\, whose serial views of subjects in motion represent an objective approach to composition and narrative\, which greatly inspired LeWitt. \nBackstory\nIn Wall Drawing 1211 all the vertical lines are drawn in graphite\, all the horizontal lines are drawn in yellow colored pencil\, all the diagonal lower left to upper right lines are drawn in red colored pencil\, and all the diagonal lower right to upper left lines are drawn in blue colored pencil. Today these designations are set. However\, in many of LeWitt’’s earliest wall drawings\, the designation between colors and lines was much more arbitrary. For example\, in Wall Drawing 85\, the vertical lines are drawn in yellow and the horizontal lines are drawn in graphite. \n
URL:https://massmoca.org/event/walldrawing1211/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/1211-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20151211T010847Z
LAST-MODIFIED:20181128T162204Z
UID:12297-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 415D
DESCRIPTION: \nDouble Drawing. Right: Isometric Figure (Cube) with progressively darker graduations of gray on each of three planes; Left: Isometric figure with red\, yellow\, and blue superimposed progressively on each of the three planes. The background is gray. \nMarch 1993 \nColor ink wash \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation\nAddison Gallery of American Art\, Phillips Academy\, Andover \nFirst Drawn By\nJohn Crowley\, Christina Hejtmanek\, Addison Parks\, Anthony Sansotta\, Mark Snow\, Eric Ziemann \nMASS MoCA Building 7\nSecond Floor \nSol LeWitt’’s use of the cube was fundamental to his early conceptual thesis. The artist\, who sought to reduce art to the most basic forms\, saw the cube as the least emotive of all shapes. In 1973\, he began the project Variations of Incomplete Open Cubes in which he systematically subtracted parts from an open cube\, representing each possible variation. His interest in the cube extended beyond three-dimensional works: he created two-dimensional drawings of each of the incomplete open-cube variations. Similar two-dimensional representations of three-dimensional objects later resurfaced in LeWitt’’s wall drawings. \nIn the early 1990s\, LeWitt began exploring floating isometric shapes in many of his ink wash wall drawings. Wall Drawing 415\, one of the earliest examples of these drawings\, depicts two floating cubes. The rendering of these cubes\, while employing a method of perspective\, does not suggest spatial recession. Instead of drafting his forms using linear perspective\, LeWitt drafts them isometrically\, a technique in which all angles of the form appear equal\, suggesting volume but not the illusion of depth. \n
URL:https://massmoca.org/event/walldrawing415d/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/414D.jpg
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DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260405T163351
CREATED:20160113T021051Z
LAST-MODIFIED:20181128T162924Z
UID:12721-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1180
DESCRIPTION:Within a four-meter (160”) circle\, draw 10\,000 black straight lines and 10\,000 black not straight lines. All lines are randomly spaced and equally distributed. \nAugust 2005 \nMarker \nYale University Art Gallery\nGift of the LeWitt Collection\, Chester\, Connecticut\, in honor of Terry and Richard Albright\, B.A. 1961 \nFirst Installation\nGalerie Sfeir-Semler\, Beirut\, Lebanon \nFirst Drawn By\nAntoine Joseph Helou\, Christine Streuli\, Rayyan Tabet \nMASS MoCA Building 7\nThird Floor \nOn first glance\, Wall Drawing 1180 appears to be a consuming\, absorbing black mass. But looking closer\, one notices the little pockets and triangles of white where the marker didn’t quite fill everything in the circle\, even with 20\,000 total lines which make up the drawing. It’s more web than solid geometry; backing up and looking right into the center of the drawing\, one is lost in the medium\, both due to the compact character of the work and its execution near the windows on the third floor. \nWall Drawing 1180 is consistent with LeWitt’s long-held ideas wherein\, as Andrea Miller-Keller writes\, the “medium and support are almost merged.” That is\, the marker is drawn directly on the unprimed wall and the “orange-peel” texture of the wall shows through – as seen in LeWitt’s early graphite works (Ground Floor) and mid-career ink-wash drawings (Second Floor). \nAt the same time\, however\, Wall Drawing 1180 (first executed in 2005) no doubt looks toward the scribble drawings LeWitt begins in 2003\, with Wall Drawing 1094 (see Backstory). Combining both “black straight lines” (as seen in Wall Drawing 86) and “black not straight lines” (as seen in Wall Drawing 46) results in an all-over\, layered pattern seen in the scribble drawings around the corner to the right. John Hogan\, senior LeWitt drafter in the 1980s and current Mary Jo and Ted Shen Installation Director and Archivist of Sol LeWitt Wall Drawings at the Yale University Art Gallery\, speaks to the execution of Wall Drawing 1180: \n“It’s simply trusting your eye and hand. You go in and make your first pass at the wall\, and maybe you make the lines all a foot apart. You figure out what maybe 1000 lines look like on the wall\, and you get the spacing tighter and tighter until you’ve done them all.” \nWall Drawing 1180 is confined to a simple shape\, a circle\, yet still explores the “vagaries of the human hand” LeWitt was so interested in (Hogan 2016). “Sometimes people approach me and say LeWitt ‘lets you do whatever you want\,’” Hogan said. “Yeah\, he says you can use A and B and do whatever you want. He’s giving you the freedom of expression but within a frame of instructions.” \nBackstory\nWall Drawing 1180 was executed in 2010 after Wall Drawing 1094 had been damaged in the months after the opening of the retrospective. Wall Drawing 1180 was chosen for its considerable durability; however\, according to Hogan\, it was also chosen because it had been executed incorrectly in its first installation in Beirut. \n“It’s one of the situations where none of the [LeWitt] Studio draftspeople were able to go [execute the drawing]\, and the gallery did not follow the instructions exactly.” \nThe bottom and top of the circle in Wall Drawing 1180 as drawn in Lebanon were cut off (and the lines not equally distributed)\, and Hogan decided that executing 1180 at MASS MoCA would also allow the Estate to accurately update its records on Wall Drawing 1180. \nWall Drawing 1180 is executed using water-based pigmented markers; regular markers have too high an acidic content and would cause the wall to deteriorate over time. LeWitt did not specify the width of the marker tip\, but the drawing is executed with commonly manufactured chisel-tip markers — an everyday\, vernacular\, international medium. \n
URL:https://massmoca.org/event/wall-drawing-1180/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2016/01/sol_lewitt_1180-1.jpg
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DTSTART;VALUE=DATE:20090101
DTEND;VALUE=DATE:20261102
DTSTAMP:20260405T163351
CREATED:20150601T234358Z
LAST-MODIFIED:20260405T013137Z
UID:130-1230768000-1793577599@massmoca.org
SUMMARY:Bruce Odland & Sam Auinger Harmonic Bridge
DESCRIPTION:Plays from 8am to 10pm under the Route 2 overpass on Marshall Street\, at the southeast corner of MASS MoCA’s main parking lot.\nIn the MASS MoCA portion of this multi-part project\, Harmonic Bridge\, low sounds roll and drone under the Route 2 overpass half a block from MASS MoCA. Entering the space under the bridge\, one becomes aware of a turning eddy of sound in the midst of intersecting streams of traffic. Cars pass by heading north or south on Marshall Street and east or west on the Route 2 bridge\, but this linear motion is counterpoised by a rolling humming in the key of C\, as calming as the rhythm of ocean waves. Although cars stream by\, pedestrians lose the impetus to move forward\, momentarily derailed by a cool pool of sound with its mysterious\, chant-like hum. Harmonic Bridge presents an aural cross-section of North Adams\, a slice of the city in the key of C\, comprised of the fundamental note and its overtone series. \n \nTo produce these rolling tones\, artists Bruce Odland and Sam Auinger affixed two 16-foot tuning tubes to the guardrail on the north side of the bridge on either side of the overpass. The length of the tubes determines the fundamental tone: a sound wave at such a low pitch is 16 feet long and must be generated (whether for sound art or a pipe organ) with a 16-foot tube. Inside each tube\, a microphone is placed at a certain harmonic interval (the 5th in one tube\, the 4th in the other). These locations accentuate the harmonic and give a slightly different timbre to the two Cs. (The difference in timbre between the two tuning tubes is analogous to the difference in timbre between a cello and a violin playing the same note: though the pitch is the same\, the sound is slightly different). \nAs traffic passes by\, its noise generates a sympathetic resonance in the columns of air inside the tubes. High-pitched sirens and even voices generate higher harmonics\, while the low rumble of trucks creates low ones. The sound is carried from the microphones in the tubes to a control room\, where the sound signal is then amplified and transmitted to the concrete cube speakers under the bridge. There are no electronic effects added. The sounds have been simply extracted from the traffic noise above\, as one might extract precious metal from a baser substance. The pedestrian hears one tuned layer of city sounds\, and strains to separate the harmony from the traffic on Marshall Street. The work requires that we focus our ears on it\, and we walk away from the experience as the composer John Cage would have us: hearing music everywhere. The bridge becomes an instrument played by the city revealing hidden harmonies within the built environment. \n\n \n \n
URL:https://massmoca.org/event/bruce-odland-sam-auinger-harmonic-bridge/
LOCATION:Marshall Street\, 1040 MASS MoCA Way\, North Adams\, 01247
GEO:42.7022586;-73.1162555
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CATEGORIES:Archive Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/06/HarmonicBridge_Full.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20091016
DTEND;VALUE=DATE:20230905
DTSTAMP:20260405T163351
CREATED:20151016T212552Z
LAST-MODIFIED:20230912T161647Z
UID:9692-1255651200-1693871999@massmoca.org
SUMMARY:Joseph Beuys Lightning with Stag in Its Glare
DESCRIPTION:The work of mid 20th-century European sculptor Joseph Beuys is grounded in a tradition of narrative sources often absent in American art of the same period. The historic symbolism of Northern Europe\, Christianity\, and an invocation of the spiritual power of animals and nature course throughout Beuys’ diverse activities\, from performances and lectures to sculptures and drawings. For Beuys\, all these works share a common sociopolitical purpose: “the victory of socialist warmth and self-determination over materialist greed and alienation.”\nBeuys’ dramatic Lightning with Stag in its Glare (Blitzschlag mit Lichtschein auf Hirschem)\, 1958–85\, is the only environment that the artist cast in bronze. An offspring of Beuys’ seminal Workshop exhibition at the Martin-Gropius-Bau in Berlin in 1982\, the work is encrusted with layers of meaning. At its core\, it enacts a dramatic moment in nature: A bolt of lightning (the large\, suspended sculpture) strikes the ground\, illuminating a stag (cast in reflective aluminum). Other animals are present\, but are not so well illuminated. There is a goat (a metal cart with a pick resting on it) and worm-like primordial animals (the dark bronze fecal forms scattered on the floor). The final element present\, the Boothia Felix\, is a metal tripod with a cubic mass on top\, and a small compass resting on top of that. This element is named for a strip of land in northern Canada that was the first established location of the North Magnetic Pole. \nBeuys invokes the creative energy of nature with the forceful bolt of lightning in this work. In many other works\, he incorporated conductive metals to symbolically draw energy from the universe\, or blocks of lard to represent the stored caloric energy of fat. The Stag\, illuminated by the lightning\, has a special role in Beuys’ work and in Northern European mythologies. He repeatedly referred to it as a conductor of the soul\, a Christ figure\, whose shedding and regrowth of antlers symbolized resurrection and the possibility of redemption. According to Beuys\, the Stag is a guardian for the Primordial Animals\, which writhe on the floor without intelligence or direction. These simple creatures\, like the dramatic Lightning\, were cast from a pile of loam in the center of the Workshop exhibition and have small broken metal tools for heads. The humble Goat recalls an imaginary laborer\, constantly and silently working in the background\, a simple wheelbarrow. \nThe loan of the Beuys sculpture from the Philadelphia Museum of Art was made possible through the support of the Philadelphia Stock Exchange and the Museum Loan Network\, a program administered by MIT’s Office of the Arts\, funded by the John S. and James L. Knight Foundation and The Pew Charitable Trusts. \n
URL:https://massmoca.org/event/joseph-beuys-lightning-with-stag-in-its-glare/
LOCATION:Galleries\, United States
GEO:37.09024;-95.712891
CATEGORIES:Archive Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/Beuys_Full.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20120526T080000
DTEND;TZID=America/New_York:20320630T170000
DTSTAMP:20260405T163351
CREATED:20171002T155643Z
LAST-MODIFIED:20220615T132802Z
UID:23622-1338019200-1972227600@massmoca.org
SUMMARY:Micah Lexier A Coin in the Corner
DESCRIPTION:A Coin in the Corner is an installation of 100 special-edition minted coins by Toronto-based artist Micah Lexier. Originally commissioned as part of MASS MoCA’s 2012 exhibition Oh\, Canada\, each coin contains a simple line drawing of a coin in a corner. Lexier’s work is a clever pun for bilingual Canada\, for the word corner in French translates to coin. Lexier placed 100 coins in corners throughout the whole of MASS MoCA\, in exhibition spaces\, the café\, offices\, basements\, bathrooms\, and even areas not accessible to the public. So\, thinking of both the coin’s placement and the French translation\, Lexier’s work really becomes a coin in the corner where the corner is the coin.\nHowever\, A Coin in the Corner is more than just a language pun; here at MASS MoCA\, Lexier’s coins become architecture. One of the many things Lexier knows is that there is strength in numbers\, as well as strength in discovery\, and A Coin in the Corner exemplifies both ideas. The piece becomes a scavenger hunt of finding the micro within the macro\, causing the museum’s visitors to seek out not only art but also architecture\, proving once again that art can be found anywhere. \nTo accompany this project\, an artist’s book was created that serves as the cheat sheet to the experience\, with maps and photographs of each location. Museum visitors are encouraged to explore seeking out the coins on their own before consulting the maps and images to find elusive coins. The book is available in our store and can be purchased online. \nA Coin in the Corner\, 2012\n100 minted coins installed in corners of the museum\nCourtesy of the artist and Birch Contemporary\, Toronto\, and TrépanierBaer Gallery\, Calgary \n
URL:https://massmoca.org/event/micah-lexier-a-coin-in-the-corner/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
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CATEGORIES:Current Exhibitions,Exhibition,Ongoing Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2017/09/Micah-Lexier-featured.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20120628
DTEND;VALUE=DATE:20300629
DTSTAMP:20260405T163351
CREATED:20151202T192717Z
LAST-MODIFIED:20190613T212043Z
UID:11838-1340841600-1908921599@massmoca.org
SUMMARY:Victoria Palermo Bus Stand
DESCRIPTION:The Bus Stand\, designed by artist Victoria Palermo\, is a public artwork and permanent addition to the North Adams community\, adding to the movement to bring more public art to the city through the efforts of DownStreet Art. Palermo\, of Queensbury\, New York\, is a visiting assistant professor of Art at Skidmore College. Her work has been exhibited in many galleries and museums\, including Kidspace at MASS MoCA in 2003-2004 and 2010. Recently\, her work has been shown at the Hyde Collection\, Glens Falls\, NY; Salem Art Works\, Salem\, NY; and Union College\, Schenectady\, NY. \nThe Bus Stand was made possible by the National Endowment for the Arts\, Art Mentor Foundation Lucerne\, and the Massachusetts Cultural Council. \nThe Bus Stand\, 2012 \n
URL:https://massmoca.org/event/victoria-palermo-bus-stand/
LOCATION:Offsite
CATEGORIES:Archive,Archived Education,Current Exhibitions,Exhibition,Ongoing Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/Bus-Stand-featured.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20130601T080000
DTEND;TZID=America/New_York:20211231T170000
DTSTAMP:20260405T163351
CREATED:20180913T185450Z
LAST-MODIFIED:20230920T191528Z
UID:30636-1370073600-1640970000@massmoca.org
SUMMARY:Marko Remec Would That I Wish For (Tall Totem)
DESCRIPTION:Artist Marko Remec often creates visual puns that conflate conventional art forms with current events\, often involving tricks of the eye\, forced perspective\, and other formal sleights of hand. In the series of work that includes Would That I Wish For\, the artist adheres ready-made objects such as mops\, brooms\, safety mirrors\, and rear-view mirrors to utility poles to create tall\, totemic-like shapes that can be at once delightfully whimsical\, and deeply questioning of today’s morays and social practices. In Would That I Wish For\, the convex mirrors’ usual use for safety\, surveillance and security is abandoned\, the structure becoming a dizzying\, world-absorbing spectacle that also reference the complex social functions of indigenous totem poles of the Pacific Northwest in commemorating important individuals and groups\, and in communicating important events.\nIn using “Totem” as part of his works’ titles\, Remec is deferential to the original use of the word (which comes from an Ojibwe term meaning clan) in describing tall carved wooden objects made by the indigenous people of the Pacific Northwest\, and is aware of those works’ primary function as communicative devices for telling stories\, or imparting other important tribal or familial information. \nRemec’s work does not mimic or copy any tribal style. Rather\, as recorders and reflectors of the present moment\, the works “speak to the abject fear and paranoia that are a common component of today’s urban and suburban condition\,” Remec has said\, addressing surveillance\, narcissism and indifference\, and the complex relationship between the built and natural worlds. \nMarko Remec\nWould That I Wish For (Tall Totem)\, 2013 \n
URL:https://massmoca.org/event/marko-remec-would-that-i-wish-for-tall-totem/
LOCATION:Courtyard C\, MASS MoCA\, North Adams\, MA\, 01247\, United States
GEO:42.7013262;-73.1155527
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CATEGORIES:Archive Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2018/09/remecsquare-large.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20130927
DTEND;VALUE=DATE:20351117
DTSTAMP:20260405T163352
CREATED:20151015T193323Z
LAST-MODIFIED:20260405T021638Z
UID:9680-1380240000-2078870399@massmoca.org
SUMMARY:Anselm Kiefer
DESCRIPTION:The long-term exhibition—realized in collaboration with the Hall Art Foundation—includes Étroits sont les Vaisseaux (Narrow are the Vessels) (2002)\, an 82-foot long\, undulating wave-like sculpture made of cast concrete\, exposed rebar\, and lead; The Women of the Revolution (Les Femmes de la Revolution) (1992)\, comprised of more than twenty lead beds with photographs and wall text; Velimir Chlebnikov (2004)\, a steel pavilion containing 30 paintings dealing with nautical warfare and inspired by the quixotic theories of the Russian mathematical experimentalist Velimir Chlebnikov; and a new\, large-format photograph on lead created by the artist for the installation at MASS MoCA.\nBuilding 15\, photo: Austin Nelson \nAnselm Kiefer\, who first visited MASS MoCA in 1990 when the museum was still in the early planning stages\, ranks among the best-known and most important of post-World War II German artists living and working today. Born in 1945 in southern Germany during the final days of the collapse of the Third Reich\, Kiefer experienced divided postwar Germany firsthand. Across his body of work\, Kiefer argues with history\, addressing controversial and even taboo issues from recent history with bold directness and lyricism. Kiefer often turns to literature and history as prime source material for his work\, as he did\, for example\, in the suite of paintings that comprise Velimir Chlebnikov (2004). \nAnselm Kiefer\, The Women of the Revolution (Les Femmes de la Révolution)\, 1992/2013 (detail)\nLead beds: dimensions variable\, Photograph on lead: 138 x 174 inches (350 x 442 cm)\nPhoto: Arthur Evans\, courtesy of the Hall Art Foundation\, © Anselm Kiefer \nThe artist often builds his imagery on top of photographs\, layering his massive canvases with dirt\, lead\, straw\, and other materials that generate a “ground” that reads literally of the earth itself. Within these thick\, impastoed surfaces Kiefer embeds textual or symbolic references to historic figures or places; these become encoded signals through which Kiefer invokes and processes history. \nAnselm Kiefer\, Velimir Chlebnikov\, 2004 (detail)\n30 paintings: oil\, emulsion\, acrylic\, lead and mixed media on canvas\, 18 paintings: 75 x 130 inches (190.5 x 330 cm) each\, 12 paintings: 75 x 110 inches (190.5 x 280 cm) each\, Hall Collection\nPhoto: Arthur Evans\, courtesy of the Hall Art Foundation\, © Anselm Kiefer \nA law student\, Kiefer switched his studies to art in 1965 and held his first solo exhibit in 1969. During the early 1970s he studied with conceptual artist Joseph Beuys\, whose interest in using an array of cultural myths\, metaphors\, and personal symbolic vocabulary as a means to engage and understand history inspired Kiefer. The artist has described his own art-making process as stimulated by Beuys’ philosophies: “Painting\, for me\, is not just about creating an illusion. I don’t paint to present an image of something. I paint only when I have received an apparition\, a shock\, when I want to transform something. Something that possesses me\, and from which I have to deliver myself. Something I need to transform\, to metabolize\, and which gives me a reason to paint.” Like Beuys\, whose works were often constructed of fragile\, organic materials (including blood\, fat\, and honey)\, Kiefer’s works often incorporate unusual\, fugitive materials such as ash\, clay\, and dried plant materials. With their rough-hewn textures and expansive narrative formats that often evoke charred landscape and historical\, sometimes apocalyptic settings\, Kiefer’s work did not conform to the pared-down Minimalist or Conceptualist movements that were becoming mainstream at the time he was a student. Instead he created massive\, dark paintings\, books constructed of large sheets of lead\, and figurative works that explored German folklore and were inspired by Caspar David Friedrich\, among others. \n Anselm Kiefer\, Velimir Chlebnikov\, 2004 (detail)\n30 paintings: oil\, emulsion\, acrylic\, lead and mixed media on canvas\, 18 paintings: 75 x 130 inches (190.5 x 330 cm) each\, 12 paintings: 75 x 110 inches (190.5 x 280 cm) each\, Hall Collection\nPhoto: Arthur Evans\, courtesy of the Hall Art Foundation\, © Anselm Kiefer \nFurther Reading\nSebastian Smee\, “Kiefer conjures history\, irony\, and myth\,” The Boston Globe (2014) \n\n \nThe Hall Art Foundation makes available works of postwar and contemporary art from its collection and from the collection of Andrew and Christine Hall for the enjoyment and education of the public. In addition to the dedicated gallery space at MASS MoCA\, the Hall Art Foundation operates a contemporary art space in Reading\, Vermont. Read more here about the Kiefer exhibition. \n
URL:https://massmoca.org/event/anselm-kiefer/
LOCATION:Building 15
CATEGORIES:Art,Current Exhibitions,Exhibition,Ongoing Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/10/Anselm_Kiefer_full.jpg
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DTSTART;TZID=UTC+0:20140530T000000
DTEND;TZID=UTC+0:20251102T235900
DTSTAMP:20260405T163352
CREATED:20150601T224847Z
LAST-MODIFIED:20251201T151745Z
UID:109-1401408000-1762127940@massmoca.org
SUMMARY:Franz West Les Pommes d’Adam
DESCRIPTION:Franz West’s Les Pommes d’Adam—a monumental outdoor sculptural ensemble on extended loan from the Hall Art Foundation—appears at MASS MoCA\, in its first presentation in the United States and its second-ever showing. The sculpture was previously exhibited in 2007\, when it was installed at the Place Vendôme in Paris next to Napoléon Bonaparte’s Vendôme Column.\n\njQuery(document).ready(function(){ jQuery("#amw_galleria_slideshow_1").galleria({"dataSource":[{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2015\/06\/RS33787_P1000488-lpr-878x659.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2015\/06\/RS33787_P1000488-lpr-878x659.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2015\/06\/RS33787_P1000488-lpr-780x585.jpg"\,"title":"Franz West\, Les Pommes D\u2019Adam\, 2007"\,"description":"Epoxy\, metal\, paint and concrete\, dimensions vary with installation\, courtesy of the Hall Art Foundation"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2015\/06\/RS33951_18-copy-scr.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2015\/06\/RS33951_18-copy-scr.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2015\/06\/RS33951_18-copy-scr-780x780.jpg"\,"title":"Franz West\, Les Pommes d\u2019Adam\, installation view"\,"description":"Hall Art Foundation at MASS MoCA\, North Adams\, Mass.\, photo: Arthur Evans"}]\,"width":"auto"\,"height":0.76\,"autoplay":false\,"transition":"slide"\,"initialTransition":"fade"\,"transitionSpeed":0\,"_delayTime":4000\,"_hideControls":false\,"_thumbnailMode":"grid"\,"_captionMode":"on_expand"}); });\nWhen Franz West’s Les Pommes d’Adam was first displayed in Paris’ Place Vendôme in 2007\, the exhibition curators noted that the sculpture took its name and inspiration from the Adam’s apple\, pointing to the distinctive anatomical profile of a man’s throat. The public\, however\, interpreted the gathering of bubblegum-pink sculptures in a slightly more provocative way\, locating the reference lower on the male torso. \nWest would have reveled in the confusion\, having once said\, “It doesn’t matter what art looks like\, but how it is used.” The use of art\, and its interpretation by individuals\, was always of interest to West. Among his earliest works are the Paßstücke\, or Adaptives\, a series of small\, portable plaster objects\, a selection of which was exhibited at MASS MoCA in 2002. Adaptives were made to be picked up and manipulated by the viewer\, their meaning changing with use. Some might be utilized as bookends or flower vases\, while others may be displayed on sculptural plinths. \nLes Pommes d’Adam\, like much of West’s work\, is infused with humor and a particular delight in visual and linguistic puns. It pokes\, provokes\, and makes us reconsider our physical and psychological relationship to art. The sculpture’s evocation of the human body recalls the work of the Actionists\, a group of artists prominent in Vienna while he was a student at the Academy of Applied Arts. Like the American Fluxus group\, the Actionists sought to create art outside the usual gallery and market structure\, often as free-form events or happenings that yielded abstract works of art and ritualistic\, body-oriented performances. \nLes Pommes d’Adam is rough-hewn and made of basic materials: metal\, epoxy\, paint\, and concrete. The 4 pink biomorphic totems\, each standing at approximately 25 feet\, are at once crude in shape\, yet highly finished. In its Paris showing\, Les Pommes d’Adam was installed in close proximity to the Vendôme Column\, on top of which stands a statue of Napoléon Bonaparte in Roman garb. West’s presentation of Les Pommes d’Adam at the Place Vendôme engaged and perhaps parodied the Napoleonic Column\, prompting viewers to reinvestigate it and its role in the history of Paris and France. The idiomatic expression\, “Napoleon complex\,” for example\, takes on new meaning in light of the apocryphal tale of the etymology of the term “Adam’s apple.” According to the biblical passage\, the Tree of Knowledge in the Garden of Eden was an apple tree. When Eve gave Adam a piece of the tree’s forbidden fruit and he ate it\, a fragment became lodged in his throat. The Adam’s apple thus serves as a permanent reminder of the folly of desiring that which one should not have\, or know. Likewise\, with its monumental\, if not pretentious\, scale\, Les Pommes d’Adam may offer a playful warning about the perils of unbridled ambition. \nFurther Reading\nFaye Hirsch\, “Opus Posthumous” in Art In America (June 2013)\nRoxana Marcoci\, Interview with Franz West in Comic Abstraction: Image-Breaking\, Image-Making (MoMA\, 2007\, click photo of Franz West\, Lisa de Cohen with Adaptive\, Vienna\, c. 1983 to read) \n\n \nThe Hall Art Foundation makes available works of postwar and contemporary art from its collection and from the collection of Andrew and Christine Hall for the enjoyment and education of the public. In addition to the dedicated gallery space at MASS MoCA\, the Hall Art Foundation operates a contemporary art space in Reading\, Vermont. Read more here about the West exhibition. \n
URL:https://massmoca.org/event/franz-west-les-pommes-dadam-hall-art-foundation/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
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CATEGORIES:Art,Exhibition,Ongoing Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/06/FranzWest-detail-full-width.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150501
DTEND;VALUE=DATE:20261102
DTSTAMP:20260405T163352
CREATED:20150601T225259Z
LAST-MODIFIED:20251201T151855Z
UID:111-1430438400-1793577599@massmoca.org
SUMMARY:Michael Oatman all utopias fell
DESCRIPTION:all utopias fell will be off view on Monday\, August 25. \nall utopias fell is a project in three parts: The Shining\, The Library of the Sun\, and Codex Solis.\nThe Shining is a 1970s-era satellite that has seemingly just crash-landed. This gleaming\, re-purposed Airstream trailer—with large parachutes and active solar panels—is\, according to the artist\, inspired by an earlier era of pulp aeronauts such as Buck Rogers\, Tom Swift\, and Tom Corbett: Space Cadet\, as well as the works of Giotto\, Jules Verne\, NASA\, and Chris Marker’s 1962 film La Jetée. \nMichael Oatman\, all utopias fell\, 2010 \nIntrepid visitors can climb a staircase through the Boiler House and enter the craft where they will encounter The Library of the Sun. Hybridizing a domestic space\, a laboratory\, and a library\, this tight environment has the feel of a hermitage\, where the occupant will “be right back\,” only it is now 30 years later. Videos relating to the sun and its mythology flicker to life on the cockpit’s instrumentation panels. \nOnce inside the craft\, visitors will be able to view Codex Solis\, a massive field of photovoltaic (PVs) or solar panels. At 50kw\, the field generates 3% of the power consumed by MASS MoCA. Within this 230-foot long grid\, mirrors are interspersed in the middle of the field\, the reflective gaps suggesting an absent text. The arrangement of mirrors and solar panels is based on a specific quote by an unnamed author\, and will not be revealed by the artist; instead the public will be encouraged to spend time with the piece\, watch the reflected sky\, and solve the riddle as birds and planes\, inverted\, fly by. \n \nSupported by the Massachusetts Technology Collaborative’s Renewable Energy Trust and the Massachusetts Cultural Council \n
URL:https://massmoca.org/event/michael-oatman-all-utopias-fell/
LOCATION:The Speed Way\, 1040 MASS MoCA Way\, North Adams\, 01247
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The Speed Way 1040 MASS MoCA Way North Adams 01247;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Art,Exhibition,Ongoing Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/06/Oatman_Full.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151001
DTEND;VALUE=DATE:20251104
DTSTAMP:20260405T163352
CREATED:20151015T225048Z
LAST-MODIFIED:20251129T022318Z
UID:9685-1443657600-1762214399@massmoca.org
SUMMARY:Dré Wapenaar Pavilion
DESCRIPTION:Originally installed in association with NL: A Season of Dutch Arts in the Berkshires\, 2007.\nDutch artist and designer Dré Wapenaar’s multi-colored Pavilion provides a shady respite for daytime visitors and evening revelers during the spring\, summer\, and fall. Located at the center of the MASS MoCA factory campus in Courtyard C\, the outdoor social sculpture of colorful overlapping canopies has become home to many MASS MoCA events\, performances\, and concerts. \n\njQuery(document).ready(function(){ jQuery("#amw_galleria_slideshow_2").galleria({"dataSource":[{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2015\/10\/wapenaar_pavilion2-878x494.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2015\/10\/wapenaar_pavilion2-878x494.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2015\/10\/wapenaar_pavilion2-780x439.jpg"\,"title":"Dr\u00e9 Wapenaar: Pavilion\, 2007"\,"description":"Dr\u00e9 Wapenaar\, Pavilion\, 2007"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2015\/10\/wapenaar_pavilion4-878x494.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2015\/10\/wapenaar_pavilion4-878x494.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2015\/10\/wapenaar_pavilion4-780x439.jpg"\,"title":"Dr\u00e9 Wapenaar: Pavilion\, 2007"\,"description":"Dr\u00e9 Wapenaar\, Pavilion\, 2007"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2015\/10\/wapenaar_pavilion3-878x494.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2015\/10\/wapenaar_pavilion3-878x494.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2015\/10\/wapenaar_pavilion3-780x439.jpg"\,"title":"Dr\u00e9 Wapenaar: Pavilion\, 2007"\,"description":"Dr\u00e9 Wapenaar\, Pavilion\, 2007"}]\,"width":"auto"\,"height":0.76\,"autoplay":false\,"transition":"slide"\,"initialTransition":"fade"\,"transitionSpeed":0\,"_delayTime":4000\,"_hideControls":false\,"_thumbnailMode":"grid"\,"_captionMode":"on_expand"}); });\nClick here to read The New York Times review of NL: A Season of Dutch Arts in the Berkshires. \nThe installation marks Wapenaar’s second visit to North Adams. In 2004\, as part of The Interventionists\, he exhibited his Buckminster Fuller-inspired Birthing Tent (2003) and his Death Bivouac (2002). His inhabitable artworks use the tent form to suggest new social arrangements. The installation is closed in the winter. \nThe opening celebration was held June 15\, 2007. \n
URL:https://massmoca.org/event/dre-wapenaar-pavilion/
LOCATION:Dré Wapenaar Pavilion
CATEGORIES:Archive Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/10/Pavilion-detail-full-width.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151001
DTEND;VALUE=DATE:20301002
DTSTAMP:20260405T163352
CREATED:20151016T001948Z
LAST-MODIFIED:20190425T143931Z
UID:9687-1443657600-1917129599@massmoca.org
SUMMARY:Don Gummer Primary Separation
DESCRIPTION:Primary Separation was first designed by the artist Donald Gummer in 1969 in a small model\, and was realized here at full scale in 2006.\nThe sculpture consists of a massive granite boulder\, 12 feet long by 6 feet tall\, sawed in half. The stone halves—separated by an 11-inch gap—are suspended 10 feet above ground\, within a system of stainless steel supports and cables. Gummer’s original inspiration for Separation was a stone that reminded him of Brancusi’s sculpture\, Fish. In using the stone\, Gummer had Duchamp’s ready-mades in mind\, but substituting for Duchamp’s man-made objects an object found in nature. \n \nDon Gummer\, Primary Separation\nMixed media\, 15 × 45 × 33 feet\n \n“We are delighted to be able to create a permanent home for this signal work from Gummer’s early career\,” said Joseph C. Thompson\, Director of MASS MoCA. “Don first showed me the work in the form of a small maquette. We were just beginning work on the Northern Berkshire District Court\, and\, though Don was probably not thinking of issues of justice when he conceived the work (though perhaps he was\, given the societal unrest of 1969)\, Primary Separation seemed to me a strikingly apt metaphor for the scales of justice\, a massive weight sustained in balanced repose. The stone could be rising\, or falling; separating\, or re-joining. The thin margin between the two parts of the whole is charged with a powerful force\, and it’s not clear whether the force is repellent or attractive. We chose the placement of Primary Separation quite carefully\, aligning it with MASS MoCA’s entry corridor\, the Clocktower\, and Tree Logic. We hope that the siting will help to visually mark the Courthouse on Marshall Street\, while also linking that complex with the rest of the MASS MoCA campus.” \nClick here to order an exhibition catalog. \n\n \nSupported by the William E. Simon Foundation\, the Cynthia L. and William E. Simon\, Jr. Foundation\, and the Hidden Pond Foundation. \n
URL:https://massmoca.org/event/don-gummer-primary-separation/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Art,Current Exhibitions,Exhibition,Ongoing Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/10/PrimarySeparation-detail-full-width.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151015
DTEND;VALUE=DATE:20261103
DTSTAMP:20260405T163352
CREATED:20151015T224244Z
LAST-MODIFIED:20251201T152157Z
UID:9684-1444867200-1793663999@massmoca.org
SUMMARY:Stephen Vitiello All Those Vanished Engines
DESCRIPTION:Sound artist Stephen Vitiello created All Those Vanished Engines especially for the MASS MoCA Boiler House. This building is a relic from the industrial past of the site and was once used to heat the factory campus the museum now inhabits. Starting with the inherent resonance of the pipes and metal drums in the space\, Vitiello composed a layered sound installation that can be explored throughout the building.\nThe narrative and title for All Those Vanished Engines comes from a commissioned text by novelist Paul Park. (Read it here.) The story serves as the thematic structure and blueprint for Vitiello’s installation. The text and concepts consider a possible reading of the building as a façade for a secret\, experimental project to explore the industrial production of sound. Told by two narrators visiting a fictional Boiler House worker\, Park’s story recalls the history of the building as both a producer of sounds and a structure haunted by its production. Park writes: “After all\, sound was what had animated the entire structure\, in memory and in the actual past\, and was still animating it\, for example\, right now.” \nVitiello utilized Park’s text in order to bring back to life the sounds of the Boiler House’s “vanished engines\,” mixing ambient sound within haunting excerpts from the story. As visitors move through the space\, the soundscape is ever changing\, and\, at any given moment\, sounds may move towards the listener or fade away\, alternating between moments of clatter and calm. This is a space to spend time in\, exploring the building’s unique character as Vitiello’s audio washes over you. \nAll Those Vanished Engines is a long-term installation\, open seasonally from May to October. \nAn installation by Stephen Vitiello\nLighting Design: Jeremy Choate\nText: Paul Park\nSound Engineer: Bob Bielecki \nAll Those Vanished Engines is supported by the Mass Cultural Council and the Argosy Foundation Contemporary Music Fund. \n
URL:https://massmoca.org/event/stephen-vitiello-all-those-vanished-engines/
LOCATION:The Speed Way\, 1040 MASS MoCA Way\, North Adams\, 01247
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The Speed Way 1040 MASS MoCA Way North Adams 01247;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Art,Exhibition,Ongoing Exhibitions,Sound Art
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/10/Stephen-Vitiello-full.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151106
DTEND;VALUE=DATE:20251107
DTSTAMP:20260405T163352
CREATED:20151106T214612Z
LAST-MODIFIED:20210225T003148Z
UID:10498-1446768000-1762473599@massmoca.org
SUMMARY:Clark Art Institute
DESCRIPTION:The Clark Art Institute sponsors annual exhibitions organized by graduate students from the Clark Art Institute–Williams College Graduate Program in the History of Art. Through this program\, candidates for a Master’s in Art History undertake all aspects of exhibition development\, including scholarly research and writing\, installation design\, art handling and preparation\, and exhibition promotion. MASS MoCA provides space\, technical support\, and curatorial oversight along the way. With a deep\, hands-on understanding of all aspects of exhibition production\, participants have gone on to become leading curators and arts administrators. Beyond the graduate program\, the Clark has also sponsored a wide array of exhibitions and projects\, including Kidspace and Natalie Jeremijenko’s Tree Logic. (The first generation of upside-down trees is planted upright—and thriving—on the Clark’s 140-acre campus in neighboring Williamstown). \n
URL:https://massmoca.org/event/clark-art-institute/
LOCATION:Offsite
CATEGORIES:Partnership
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/11/Clark_Full.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151106
DTEND;VALUE=DATE:20251107
DTSTAMP:20260405T163352
CREATED:20151107T013031Z
LAST-MODIFIED:20250612T135858Z
UID:10511-1446768000-1762473599@massmoca.org
SUMMARY:FreshGrass Festival
DESCRIPTION:MASS MoCA’s FreshGrass festival of progressive bluegrass and roots music is produced in collaboration with FreshGrass LLC and its sister publication\, No Depression Magazine. Since 2010\, the FreshGrass festival has won a reputation for hosting master musicians who are the standard-bearers of traditional bluegrass\, side by side with musicians exploring the genre’s most progressive and experimental corners\, all captured under the banner “great music\, uprooted.” The annual FreshGrass Award — cash prizes granted across multiple bluegrass categories including banjo\, fiddle\, duo\, songwriting\, and full band — has helped launch the careers of exciting acts such as Old Salt Union\, Cricket Tell the Weather\, and Twisted Pine. \n
URL:https://massmoca.org/event/freshgrass-festival/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Partnership
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/11/Webcuts_25_Freshgrass_3840-x-1524.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151106
DTEND;VALUE=DATE:20251107
DTSTAMP:20260405T163352
CREATED:20160202T202711Z
LAST-MODIFIED:20260105T025320Z
UID:13777-1446768000-1762473599@massmoca.org
SUMMARY:Sol LeWitt A Wall Drawing Retrospective
DESCRIPTION:Featuring 105 of Sol LeWitt’s large-scale works that encompass the artist’s entire career—from his taut\, early graphite wall drawings of the mid-1960s to his swirling\, brightly colored drawings of the early 21st century—the milestone retrospective Sol LeWitt: A Wall Drawing Retrospective was organized with Yale University Art Gallery\, Williams College Museum of Art\, and the Sol LeWitt studio. But in the end\, this show is all Sol: the artist placed the walls and oversaw both the selection and arrangement of the art. Chosen by Time magazine as the best exhibition of the year and praised by the L.A. Times as “America’s Sistine Chapel\,” this is a must-see\, must see-again show. \n
URL:https://massmoca.org/event/sol-lewitt-a-wall-drawing-retrospective-3/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Partnership
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/Sol-LeWitt_1005-full.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151106
DTEND;VALUE=DATE:20251107
DTSTAMP:20260405T163352
CREATED:20160202T221946Z
LAST-MODIFIED:20210225T003130Z
UID:13797-1446768000-1762473599@massmoca.org
SUMMARY:Massachusetts College of Liberal Arts
DESCRIPTION:One of the top public liberal arts colleges in the country\, the Massachusetts College of Liberal Arts‘ robust Arts Management program supplies MASS MoCA with interns across every department. MASS MoCA is also one of the numerous venues in MCLA’s summer-long DownStreet Art — a roving slate of pop-up galleries\, performances\, and participatory events throughout our home city of North Adams. \n
URL:https://massmoca.org/event/massachusetts-college-of-liberal-arts/
LOCATION:Offsite
CATEGORIES:Partnership
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2016/02/MCLA_Full.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC+0:20151106T080000
DTEND;TZID=UTC+0:20251106T170000
DTSTAMP:20260405T163352
CREATED:20151106T230716Z
LAST-MODIFIED:20210225T003116Z
UID:10505-1446796800-1762448400@massmoca.org
SUMMARY:The Hall Art Foundation
DESCRIPTION:In 2013\, The Hall Art Foundation joined with MASS MoCA and the artist Anselm Kiefer to realize an extraordinary quasi-permanent installation of works by the post-World War II German master. Occupying a 10\,000 square-foot\, 1-million gallon abandoned water tank\, the exhibition includes three vast works\, including a magnificent suite of 30 large-scale paintings on the subject of nautical warfare.  In an adjacent plaza\, the Hall Art Foundation has placed on long-term view Les Pommes d’Adam\, a provocative gathering of bubble-gum pink “Adam’s apples” by Austrian artist Franz West. \n
URL:https://massmoca.org/event/the-hall-art-foundation/
LOCATION:Offsite
CATEGORIES:Partnership
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/11/HAF_Full.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC+0:20151106T080000
DTEND;TZID=UTC+0:20251106T170000
DTSTAMP:20260405T163352
CREATED:20151106T234004Z
LAST-MODIFIED:20210225T003107Z
UID:10507-1446796800-1762448400@massmoca.org
SUMMARY:Jacob's Pillow
DESCRIPTION:Jacob’s Pillow Dance\, the nation’s preeminent and longest-running institute and festival for contemporary dance\, makes MASS MoCA an off-summer home for large-scale co-presentations and dance residencies. Performances range from fully staged productions by leading international dance companies to focused technical workshops\, to participatory dance parties featuring live music and dance instruction. Utilizing MASS MoCA’s massive Hunter Center theater with its black-box technical capacities\, the program has welcomed milestone performances by artists such as Merce Cunningham\, Paul Taylor\, and Bill T. Jones\, while also providing R&D and rehearsal time to emerging choreographers such as Karole Armitage\, David Dorfman\, and Kyle Abraham. \nPast MASS MoCA and Jacob’s Pillow Dance Co-presentations \n\nAbraham.In.Motion \nArmitage Gone! Dance \nBig Dance Theater: This Page Left Intentionally Blank \nDavid Dorfman Dance: Come\, And Back Again \nDavid Neumann: Solo Works \nKatie Workum and Kimberly Bartosik \nKeigwin + Company \n\n\nLes Ballets Jazz de Montreal \nLes Ballets Trockadero de Monte Carlo \nLos Muñequitos de Matanzas \nShen Wei Dance Arts \nStephen Petronio: I Drink the Air Before Me \nZvidance: On The Road \n\n  \n  \n
URL:https://massmoca.org/event/jacobs-pillow/
LOCATION:Offsite
CATEGORIES:Partnership
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/11/jacobspillow-thumbnail-landscape.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC+0:20151106T080000
DTEND;TZID=UTC+0:20251106T170000
DTSTAMP:20260405T163352
CREATED:20151106T235649Z
LAST-MODIFIED:20250612T135711Z
UID:10509-1446796800-1762448400@massmoca.org
SUMMARY:Solid Sound Festival
DESCRIPTION:The Grammy award-winning band Wilco is the force behind our Solid Sound Festival\, a three-day festival of art\, music\, and comedy that takes over the entire MASS MoCA campus every other summer. Wilco headlines the festival and also selects a diverse slate of established artists and young talent that plays to an audience of some 8\,000 visitors per day. Festival-goers venture to North Adams from every state (and many nations) to enjoy music on 3 large outdoor stages\, 2 intimate indoor venues\, and virtually everywhere else within MASS MoCA’s 16-acre campus. Camping available. \n
URL:https://massmoca.org/event/solid-sound-festival/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Partnership
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/11/Webcuts_25_Solid-Sound_3840-x-1524.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20151106T080000
DTEND;TZID=America/New_York:20251106T170000
DTSTAMP:20260405T163352
CREATED:20160208T225134Z
LAST-MODIFIED:20160921T193428Z
UID:14469-1446796800-1762448400@massmoca.org
SUMMARY:Williams College Museum of Art
DESCRIPTION:The Williams College Museum of Art is one of the curatorial collaborators behind MASS MoCA’s renowned Sol LeWitt: A Wall Drawing Retrospective\, using the exhibition as a sort of auxiliary classroom\, and organizing adjunct exhibitions in its own galleries that explore LeWitt’s practice\, and those of his contemporaries. \n
URL:https://massmoca.org/event/williams-college-museum-of-art/
LOCATION:Offsite
CATEGORIES:Partnership
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2016/02/WCMA_Full.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151209
DTEND;VALUE=DATE:20251210
DTSTAMP:20260405T163352
CREATED:20151210T014920Z
LAST-MODIFIED:20250612T135347Z
UID:12101-1449619200-1765324799@massmoca.org
SUMMARY:Sundance Institute
DESCRIPTION:Every winter\, MASS MoCA becomes a home for the Sundance Institute\, whose Theatre Lab brings playwrights\, actors\, and musicians to North Adams for an intensive 3-week workshop residency centered on writing\, first readings\, and work-in-progress showings\, often unveiling new scripts and songs to the public for the first time before Berkshire audiences. \n
URL:https://massmoca.org/event/sundance-institute/
LOCATION:Offsite
CATEGORIES:Partnership
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/Webcuts_25_Sundance-Institute_3840-x-1524.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC+0:20151209T080000
DTEND;TZID=UTC+0:20251209T170000
DTSTAMP:20260405T163352
CREATED:20151210T021211Z
LAST-MODIFIED:20210225T003027Z
UID:12105-1449648000-1765299600@massmoca.org
SUMMARY:Bang on a Can
DESCRIPTION:Bang on a Can Summer Music Festival is MASS MoCA’s longest running musical event: a three-week concatenation of performances\, workshops\, and seminars focused on adventurous new music. The Festival’s public programs include 40+ performances during regular museum hours—taking over gallery spaces\, courtyards\, and virtually any other space the musicians can exploit. The Festival also includes several fully staged Hunter Center theater concerts\, including a signature Bang on a Can Marathon: 6+ hours of mesmerizing music that ricochets within the triangular zone marked by jazz\, classical music\, and rock. \n
URL:https://massmoca.org/event/bang-on-a-can/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Partnership
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/BOAC_Full.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160307
DTEND;VALUE=DATE:20300501
DTSTAMP:20260405T163352
CREATED:20210505T205853Z
LAST-MODIFIED:20230113T202424Z
UID:41010-1457308800-1903823999@massmoca.org
SUMMARY:The Studios at MASS MoCA
DESCRIPTION:Since October 2015\, The Studios at MASS MoCA has hosted over 700 artists and writers from 22 countries for artist residencies of up to 8 weeks. \nHosted by MASS MoCA’s Assets for Artists program\, selected artists-in-residence receive private studio space on MASS MoCA’s campus\, housing across the street from the museum in newly renovated apartments\, free access to the museum’s galleries and partner institutions\, shared use of printmaking and weaving equipment\, optional financial and business coaching from Assets for Artists staff\, and a daily group meal among a twelve-artist cohort of international peers. \n  \n
URL:https://massmoca.org/event/studios-2/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Assets for Artists
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2016/03/128779-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160528T080000
DTEND;TZID=America/New_York:20250401T170000
DTSTAMP:20260405T163352
CREATED:20161209T223031Z
LAST-MODIFIED:20171227T181022Z
UID:18570-1464422400-1743526800@massmoca.org
SUMMARY:B6: The Robert W. Wilson Building
DESCRIPTION:
URL:https://massmoca.org/event/b_u_i_l_d_i_n_g_6/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Current Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2016/12/B6-lightwell-featured.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160528T110000
DTEND;TZID=America/New_York:20261201T170000
DTSTAMP:20260405T163352
CREATED:20161114T175851Z
LAST-MODIFIED:20221122T160034Z
UID:17948-1464433200-1796144400@massmoca.org
SUMMARY:Julianne Swartz In Harmonicity\, The Tonal Walkway
DESCRIPTION:Julianne Swartz’s work is rooted in emotion\, vulnerability\, and the provocation to recognize and connect to one another as feeling human beings. Over the years Swartz has returned again and again to using the human voice\, recording singers both professional and amateur to create moving works that embrace visitors with sound and emotion.\n\njQuery(document).ready(function(){ jQuery("#amw_galleria_slideshow_3").galleria({"dataSource":[{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/11\/curwen-chart.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/11\/curwen-chart.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/11\/curwen-chart.jpg"\,"title":"John Curwen\, Tonic Sol-Fa Chart"\,"description":""}]\,"width":"auto"\,"height":0.76\,"autoplay":false\,"transition":"slide"\,"initialTransition":"fade"\,"transitionSpeed":0\,"_delayTime":4000\,"_hideControls":false\,"_thumbnailMode":"grid"\,"_captionMode":"on_expand"}); });\nFor In Harmonicity\, The Tonal Walkway\, Julianne Swartz started with a chart she found in a 19th-century music pedagogy system called the “Tonic Sol-Fa” School\, developed by John Curwen. The chart assigned “mental effects” to the seven tones of the diatonic scale. Swartz was interested in this idea of certain tones activating specific emotional or mental states. She then took this “Curwen Method” and applied it to a new sound work for MASS MoCA\, on long-term exhibition in the walkway between the lobby and the Sol LeWitt Wall Drawing Retrospective. “Inharmonicity” is a word used to describe a departure from the ideal harmonic series (being out of tune)\, but it has also been attributed to bringing a “quality of warmth” to the sound of a stringed instrument. \nTo build this work\, Swartz started by recording 24 people individually — eight professional singers\, including Roomful of Teeth\, and 16 amateur singers. The singers ranged in age from 7 to 75. During the recording process\, she asked participants to listen to specific tones and read the “mental effect” associated with that tone\, as assigned by Curwen. Then she asked them to listen to the tone again and come up with their own mental or emotional association. Lastly\, she instructed them to sing individual notes of both the diatonic and chromatic scales\, using any syllabic/consonant-vowel combination that they wished. The single-note sounds took on specifics of the individual singers’ choices and voices. \nSwartz then took these recording and made a composition of the single note sounds using a chord structure of thirds and fifths. The soundtrack is made entirely of singing\, spoken word\, and sustained microtones of voice. The microtones are made by isolating a tiny kernel (such as a quarter second) of voice or breath\, and repeating it until it becomes a sustained tone. These sustained tones\, especially the low frequencies\, vibrate the space and can sound like mechanical or industrial sounds. Swartz created a composition of voice utilizing the 150+ foot length of the space to “throw” sound back and forth along the stretch of the bridge and make aural illusions with distant and proximate spatial harmonies. The sounds constantly move through the space\, and listeners’ perception of it changes as they walk or stand still\, creating effects of harmony and disharmony\, concord and dissonance — the emotional states created by listening to voices join together. \nFeaturing the voices of Estelí Gomez\, Cameron Beauchamp\, Eric Dudley\, Martha Cluver\, Thann Scoggin\, Elisa Sutherland\, Eliza Bagg\, Stella Prince\, José Chardiet\, Nicolas S. Eugst Mathews\, Isabel Vázquez\, Lulu Hart\, Maria Sonevytsky\, Edwina Unrath\, David Moss\, Sue LaRocca\, Jennifer Odlum\, Molly Odlum\, Frida Balloghi-Smith\, Marshall McConville\, Jenny Monick\, Junah Sibony\, and Elodie Sibony. Special thanks to Brad Wells\, director\, Roomful of Teeth\, and Ben Senterfit\, director\, Community Music Space\, Red Hook\, New York. \nIn Harmonicity\, The Tonal Walkway\, 2016\nSite-specific\, 20-channel sound installation; 13:40-minute loop\nSound consultant: Bob Bielecki\nCourtesy of the artist\nPhoto: Zoran Orlic \n
URL:https://massmoca.org/event/julianne-swartz-in-harmonicity-the-tonal-walkway/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Current Exhibitions,Exhibition,Ongoing Exhibitions,Sound Art
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2016/11/Zoran-bridge-featured.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170104T080000
DTEND;TZID=America/New_York:20260101T170000
DTSTAMP:20260405T163352
CREATED:20170104T182743Z
LAST-MODIFIED:20260327T173925Z
UID:18841-1483516800-1767286800@massmoca.org
SUMMARY:Current Job Openings
DESCRIPTION:Thank you for your interest in joining MASS MoCA! If you love the arts\, and take pride in working hard with a dedicated team\, we hope you find a position below that fits your skills and experience. \nMASS MoCA strives to be a welcoming environment that encourages free exchange between the making of art and its enjoyment by the public. We are committed to inclusion and diversity among our staff\, artists\, patrons\, and guests alike. \n  \nADMINISTRATION\n\nSenior Manager of Executive Administration (Full-Time\, Onsite)\nLearn More & Apply \n  \nCOMMUNICATIONS & CONTENT\n\nAssociate Director of Marketing (Full-time\, Onsite)\nLearn More & Apply \nSenior Manager of Marketing Operations (Full-Time\, Onsite)\nLearn More & Apply \nSenior Manager of Brand and Graphic Design (Full-Time\, Onsite)\nLearn More & Apply \n  \nPUBLIC PROGRAMS\n\nCamp MASS MoCA Teaching Artist (Temporary/Seasonal/1099: Full-Time\, Onsite)\nLearn More & Apply \nCamp MASS MoCA Teaching Assistant (Temporary/Seasonal: Full Time\, Onsite)\nLearn More & Apply \nTeen Activator (Part-time/Temporary/Seasonal)\nLearn More & Apply \n  \nVISITOR EXPERIENCE\n\nBox Office Systems Coordinator (Full-Time\, Onsite)\nLearn More & Apply \n  \nVISUAL ARTS\n\nPreparator/Fabricator (On-Call/Temp/Seasonal)\nLearn More & Apply \nRegistrar (On-Call/Temporary/Seasonal)\nLearn More & Apply \nSenior Manager of Registration (Full-Time\, Onsite)\nLearn More & Apply \n  \n\nMASS MoCA is an Equal Opportunity/Affirmative Action employer. All qualified applicants will receive consideration for employment without regard to age\, ethnicity\, language and culture\, economic status\, educational background\, gender\, geographic location\, housing status\, marital status\, mental ability\, national origin\, parental status\, physical ability\, political philosophy\, race\, religion\, spiritual beliefs\, sexual orientation\, body shape and size\, immigration status\, indigenous heritage\, and veteran status. Applicants requiring reasonable accommodations for the application and/or interview process should notify a representative from the HR department at humanresources@massmoca.org. \nEmployment at MASS MoCA is contingent on the verification of background information submitted by the applicant\, including the completion of a criminal record check/CORI check. \nTransparency in Coverage (TiC) \n  \n
URL:https://massmoca.org/event/current-job-openings/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Opportunities
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2017/01/Webcuts_Jobs_3840x1920-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170104T080000
DTEND;TZID=America/New_York:20260101T170000
DTSTAMP:20260405T163352
CREATED:20170104T183713Z
LAST-MODIFIED:20190116T151604Z
UID:18845-1483516800-1767286800@massmoca.org
SUMMARY:Volunteer Opportunities
DESCRIPTION:We are looking for fun and engaging individuals who want to join our volunteer usher team for our upcoming seasons. As a volunteer usher\, you help MASS MoCA front-of-house staff with patron experiences during performances\, events\, and festivals. Enjoy some of the most exciting music and performing arts events in New England! Volunteers must be 18 years and older and be able to stand for more than an hour\, while communicating clear and comfortably to the public.\nPlease contact volunteer@massmoca.org if you wish to apply* to our volunteer ushering team!\n*All applications are subject to a reviewing process. \n
URL:https://massmoca.org/event/volunteer/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Opportunities
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2017/01/volunteer-featured.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170204T110000
DTEND;TZID=America/New_York:20270101T170000
DTSTAMP:20260405T163352
CREATED:20161206T153955Z
LAST-MODIFIED:20251116T173456Z
UID:18356-1486206000-1798822800@massmoca.org
SUMMARY:Spencer Finch Cosmic Latte
DESCRIPTION:Spencer Finch\, the subject of a major mid-career survey at MASS MoCA in 2007 titled What Time is it on the Sun?\, returns to the museum with a long-term installation commissioned and designed in conjunction with MASS MoCA’s Phase III expansion. Bringing the starry night inside the museum\, Finch’s light-based work\, Cosmic Latte features over 150 specially fabricated LED fixtures suspended from the ceiling over an expanse of the 80-foot long gallery. The constellation of LEDs are arranged in the gently arching shape of the Milky Way as it is observed in the Northern Hemisphere in March. The work’s title\, Cosmic Latte\, refers to the name of the average color of the universe\, which in 2009 was determined to be more beige than what has been traditionally thought of as blue. Two American astrophysicists studied the color of the light emitted by 200\,000 galaxies and created a cosmic spectrum\, which they then blended according to the light spectrum visible to human eyes. Finch represents that specific warm\, yellowish-white shade of light with LED lights (designed to look like incandescent bulbs)\, which are then arranged in the shape of the molecular models of the pigments needed to create this “cosmic latte” color: titanium white\, Mars yellow\, chrome yellow\, and a touch of cadmium red.\nCosmic Latte\, 2017\n150 light fixtures and 417 incandescent bulbs\, dimensions variable\, one of 3 versions\nPhoto by Douglas Mason \n
URL:https://massmoca.org/event/spencer-finch-cosmic-latte/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Building 6,Current Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2016/12/Spencer-Finch-Mason-featured.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170217T080000
DTEND;TZID=America/New_York:20300430T170000
DTSTAMP:20260405T163352
CREATED:20170217T200309Z
LAST-MODIFIED:20210329T192114Z
UID:19370-1487318400-1903798800@massmoca.org
SUMMARY:Professional Development Workshops
DESCRIPTION:Through its Assets for Artists program\, MASS MoCA organizes a wide range of professional development workshops on financial and career planning topics for artists throughout Massachusetts\, Rhode Island\, and Connecticut. \nTo see what workshops we are offering this season\, visit our workshops webpage or click here to join Assets For Artists mailing list and be the first to know when trainings are scheduled near you. \n
URL:https://massmoca.org/event/professional-development-workshops-for-artists/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Assets for Artists
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2017/02/Biz-Training-workshops-featured.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170217T080000
DTEND;TZID=America/New_York:20200201T170000
DTSTAMP:20260405T163352
CREATED:20170217T201018Z
LAST-MODIFIED:20210329T191127Z
UID:19372-1487318400-1580576400@massmoca.org
SUMMARY:Mini-Grants for Artists
DESCRIPTION:MASS MoCA’s Assets for Artists Program has provided financial and business training and capacity building grants to hundreds of artists all around New England and New York City. The Capacity-Building Grants Program (formerly “Matched Savings Program”) is an innovative support model that helps artists strengthen their creative practice and grow their long-term sustainability. Local\, regional\, and national funding partners help make these opportunities possible. \nLearn more about Assets for Artists’ Capacity Building Grants\, and see if we’re currently working in your region. Click here to receive announcements about future opportunities. \n
URL:https://massmoca.org/event/mini-grants-for-artists/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2017/02/Shawn_Brewer-Portland-2013_featured.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170217T080000
DTEND;TZID=America/New_York:20200201T170000
DTSTAMP:20260405T163352
CREATED:20170217T201420Z
LAST-MODIFIED:20210329T190742Z
UID:19374-1487318400-1580576400@massmoca.org
SUMMARY:North Adams Project
DESCRIPTION:Through its North Adams Project\, MASS MoCA’s Assets for Artists program supports artists from a wide range of disciplines who live in North Adams or are interested in relocating to North Adams. The support includes mini-grants\, professional development workshops\, individual coaching\, referrals\, and networking opportunities. \nLearn more about the North Adams Project here. \n \nEmail assetsforartists@massmoca.org if you are interested in scheduling an in-person meeting about relocating to North Adams\, and click here to receive announcements about future opportunities. \n
URL:https://massmoca.org/event/north-adams-project/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2017/02/North-Adams-Kim-Faler_featured.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170217T080000
DTEND;TZID=America/New_York:20300430T170000
DTSTAMP:20260405T163352
CREATED:20210329T191115Z
LAST-MODIFIED:20210331T183017Z
UID:40610-1487318400-1903798800@massmoca.org
SUMMARY:Capacity-Building Grant Program
DESCRIPTION:
URL:https://massmoca.org/event/capacity-building-grant-program/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Assets for Artists
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2017/02/Shawn_Brewer-Portland-2013_featured.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170217T110000
DTEND;TZID=America/New_York:20200201T170000
DTSTAMP:20260405T163352
CREATED:20170217T200038Z
LAST-MODIFIED:20251103T234254Z
UID:19368-1487329200-1580576400@massmoca.org
SUMMARY:The Studios at MASS MoCA
DESCRIPTION:
URL:https://massmoca.org/event/a_s_s_e_t_s_f_o_r_a_r_t_i_s_t_s/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Opportunities
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2017/02/Assets-David-Lane-featured.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170501T100000
DTEND;TZID=America/New_York:20260501T170000
DTSTAMP:20260405T163352
CREATED:20170512T192939Z
LAST-MODIFIED:20180628T153539Z
UID:21882-1493632800-1777654800@massmoca.org
SUMMARY:MASS MoCA Expands
DESCRIPTION:\n\n\n\n\n\n\n\n\nMASS MoCA: It’s a Site for All Eyes\nThe New York Times\nMassachusetts’ artsiest enclave gives NYC a run for its money\nNew York Post\nLet’s Slice Open the Biggest Contemporary Art Museum in the US\nWired\nOur Guide To The Art Inside MASS MoCA’s Gigantic New Building 6\nWBUR\n\n\n\n\n\n\n\n\nA Museum Where Giant Art Has Room to Breathe \nThe New York Times\nWhere Art Has Space to Play\nThe Wall Street Journal\nThe Berkshires Town That’s Becoming a Cultural Hub \nThe Wall Street Journal\nA Laurie Anderson pilgrimage? Just don’t tell her you’re calling it that.\nThe Washington Post\n\n\n\n\n\n\n\n\nCan contemporary art help revitalize rural America?\nCurbed\nMass MoCA expands — and mounts a standout set of new shows\nThe Boston Globe\nMass MoCA thinks big with latest expansion\nThe Boston Globe\nBig Art\, Big Money\, And Big Hopes Drive MASS MoCA’s New Building 6\nWBUR\n\n\n\n\n\n\n\n\nIn his own words: Joseph Thompson\nThe Berkshire Eagle\nMass MoCA: The ‘miracle … in these hills’ comes to fruition\nThe Berkshire Eagle\nThe genesis of Mass MoCA\nThe Berkshire Eagle\nFrom idea to reality | Mass MoCA: A timeline\nThe Berkshire Eagle\n\n\n\n\n\n\n\n\nJames Turrell Makes Light Physical\nThe New Yorker\nThe mecca at Mass MoCA\nThe Boston Globe\nMeandering Through MASS MoCA’s Vast Expansion\nHyperallergic\nJohn Stirratt: Why I fell in love with North Adams\nThe Berkshire Eagle\n\n\n\n\n\n \n\n\nBuilding 6’s big bang attracts thousands to Mass MoCA’s new expanded footprint\nThe Berkshire Eagle\nJohn Seven: Mass MoCA is a world-class institution built on local energy\nThe Berkshire Eagle\nAudio Tour Of MASS MoCA’s Building 6 – Opening Day Celebration 5/28\nWAMC \nAs MASS MoCA Doubles Its Size\, Unpredictability Is A Goal\nNEPR\n\n\n\n\n\n\n\n\nBuilding 6: A sublime intersection of art\, architecture and nature\nThe Berkshire Eagle\nSneak peek at MASS MoCA’s latest expansion\nTimes Union \nDenise Markonish: A curator’s perspective\nThe Berkshire Eagle\nA More Massive Mass MoCA\nWRSI\n\n\n\n\n\n\n\n\nLife with Monte: Mass MoCA Expansion\, Pt. 1\nConnecting Point | May 22\, 2017\nEverything is an instrument and everyone a musician: Mark Stewart on Schonbeck at Mass MoCA\nWRSI\nJodi Joseph: If you’ve never visited Mass MoCA\, now’s the time\nThe Berkshire Eagle\nMass MoCA Just Became One of America’s Largest Museums\nartnet news\n\n\n\n\n\n\n\n\nMore Mass at MASS MoCA\nBerkshire Trade & Commerce\nMassachusetts museum’s expansion enables artists to dream big\nThe Art Newspaper\nExpanded MASS MoCA Galleries\nBerkshire Fine Arts\nArt and about: MASS MoCA reaches critical mass\nIMBY\n\n\n\n\n\n\n\n\nWelcome to Building 6: Mass MoCA’s 130K-square-foot expansion opens May 28\nThe Berkshire Eagle\nThe Art Capital of New England is a Former Factory Town\nArchitectural Digest\nNorth Adams a Canvas for Mass MoCA Art This Summer\niBerkshires\nMass MoCA’s Building 6 Opens May 28\niBerkshires\n\n\n\n\n\n\n\n\nJames Turrell rooms\, a 15-ton Louise Bourgeois sculpture\, and many site-specific works feature in MASS MoCA expansion\nThe Architects Newspaper\nBruner/Cott further expands MASS MoCA art museum in the Berkshires\ndezeen\n6 LAST-MINUTE MEMORIAL DAY WEEKEND GETAWAYS\nElle Decor\nCulture Calendar: 23 Things to do in May 2017\nDepartures\n\n\n\n\n\n\n\n\nLifting the veil on Mass MoCA’s expansion\nThe Boston Globe\nMass MoCA talks expansion\nThe Boston Globe\nMass MoCA Hopes to Grow Economic Impact\niBerkshires\nMass MoCA unveils expansive vision\nThe Boston Globe\n\n\n\n\n\n\n\n\nMass MoCA to become country’s largest contemporary art museum\nThe Washington Post\nVast Space and Art to Fill It\nThe New York Times\nMASS MoCA Doubles Size\, Hosts Projects by Turrell\, Holzer\, Laurie Anderson\nArt in America\nMass MoCA signs prominent artists for major expansion\nLos Angeles Times\n\n\n\n\n\n\n\n\nBig Dreams at the Art Factory\nThe New York Times\nMASS MoCA’s Final Stage\nThe Berkshire Eagle\nMASS MoCA Plans To Double Its Size With $25.4 Million From State\nThe Artery\nState grant would fund Mass MoCA expansion\nBoston.com\n\n\n\n\n\n\n\n\n$25.4M state grant to fuel MASS MoCA’s final phase\, doubling gallery space\nThe Berkshire Eagle\nState Grants $25M for Mass MoCA’s Final Phase\niBerkshires\n\n\n\n\n\n© James Turrell\, photo by Florian Holzherr \n
URL:https://massmoca.org/event/building-6-in-the-news/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Building 6
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2017/05/Turrell-blue-featured.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170526T080000
DTEND;TZID=America/New_York:20250901T170000
DTSTAMP:20260405T163352
CREATED:20170217T220025Z
LAST-MODIFIED:20251112T141326Z
UID:19354-1495785600-1756746000@massmoca.org
SUMMARY:Barbara Ernst Prey Building 6 Portrait: Interior
DESCRIPTION:Renowned watercolor artist Barbara Ernst Prey paints a monumental watercolor for MASS MoCA’s expansion. Prey’s work is 9 feet tall by 16 feet wide and depicts the interior of B6: The Robert W. Wilson Building just prior to the start of construction.\n \nBest known for her plein air paintings\, Prey’s commission sets a new benchmark for the size and scale of watercolor works on paper\, among the most unforgiving combination of any painterly media. Her piece tackles the vast horizontal spread of the Wilson Building’s second floor\, which comprises a full acre of floor area\, with some 400 columns\, hundreds of windows\, and layers and layers of paint. “This commission is a painter’s dream\, an engaging subject combined with a breathtaking scale for this media\,” says Prey. “I have long admired MASS MoCA’s commitment to breaking boundaries in commissioning and presenting new works\, and am thrilled to have been asked to create a piece that celebrates the organization’s ongoing growth and success. The architecture\, the light\, the colors\, and the different textures of the space in the building are all compelling subjects\, and this piece has pushed my boundaries as an artist\, opening up new perspectives on watercolor painting.” \nPrey’s paintings are included in some of the most important public and private collections around the world\, including The White House (one of two living female artists)\, the National Endowment for the Arts\, the Brooklyn Museum\, the Smithsonian American Art Museum\, the Kennedy Space Center\, the Farnsworth Art Museum\, Williams College Museum of Art\, Hood Museum of Art Dartmouth College\, the Taiwan Museum of Art\, the New-York Historical Society\, the Henry Luce Foundation\, and the Bush Presidential Library and Center. \nShe has also been commissioned by NASA to document space history. Prey graduated from Williams College where she studied with Lane Faison as part of the Williams College Art History program and holds a master’s degree from Harvard University where she was able to continue her art history studies. She was awarded a Fulbright Scholarship and a Henry Luce Foundation grant that enabled her to travel\, study\, and exhibit extensively in Europe and Asia. She is an art blogger for The Huffington Post\, a frequent lecturer\, and an arts advocate\, as well as an adjunct faculty member at Williams College. In 2008\, she was appointed by the President of the United States to the National Council on the Arts\, which is the advisory board of the National Endowment for the Arts. Members are chosen for their established record of distinguished service and achievement in the arts. \nBarbara Ernst Prey\, MASS MoCA Building 6\, 2015 – 2017\nWatercolor\, gouache\, and pencil on paper\, with materials from Building 6 \n
URL:https://massmoca.org/event/barbara-prey-building-6-portrait/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Building 6,Current Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2017/02/FINAL_PREY-featured.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170527T100000
DTEND;TZID=America/New_York:20251102T170000
DTSTAMP:20260405T163352
CREATED:20161206T151313Z
LAST-MODIFIED:20251201T151432Z
UID:18349-1495879200-1762102800@massmoca.org
SUMMARY:Mary Lum Assembly (Lorem Ipsum)
DESCRIPTION:Artist Mary Lum\, who lives in North Adams\, works in a range of media\, including wall drawing\, painting\, collage\, photography\, and artist books. Language plays an important role in her practice\, with the artist drawing on texts from a diversity of sources\, including literature\, psychoanalysis\, and the news. Lum has been included in three previous exhibitions at MASS MoCA in the past fifteen years; for the opening of B6: The Robert W. Wilson Building she was commissioned to create a large-scale wall work for the bike tunnel that transverses the ground floor\, piercing one of MASS MoCA’s biggest buildings to connect Adams-North Adams-Williamstown bike trails. Lum’s monumental painting\, covering four walls\, is inspired by Lorem ipsum\, the meaningless text that graphic designers and typesetters use as mock filler content as placeholders for actual texts\, and which was originally drawn from Cicero’s writings on ethics. The intricate work vibrates between writing\, image\, and pattern\, and speaks to the fragmented way in which we acquire information and see language in today’s world. Mirrored interludes provide a vibrant backdrop to passing cyclists.\nProgramming at MASS MoCA is made possible in part by the Barr Foundation\, Horace W. Goldsmith Foundation\, and Mass Cultural Council. \n  \nAssembly (Lorem Ipsum)\, 2017\nExterior house paint\, mirror\, site-specific dimensions\nCourtesy of the artist\nPhoto: Jason Reinhold \n
URL:https://massmoca.org/event/mary-lum-assembly-lorem-ipsum/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Building 6,Exhibition,Ongoing Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2016/12/24_SU_Webcuts_MaryLum_1920x1920.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170527T110000
DTEND;TZID=America/New_York:20190708T170000
DTSTAMP:20260405T163352
CREATED:20161205T225916Z
LAST-MODIFIED:20190923T195135Z
UID:18337-1495882800-1562605200@massmoca.org
SUMMARY:Dawn DeDeaux and Lonnie Holley Thumbs Up for the Mothership
DESCRIPTION:Marking the first exhibition in a series that is designed to give an extended public forum to artists who have participated in the Captiva studio residency program of the Robert Rauschenberg Foundation\, Thumbs Up for the Mothership features individual works as well as a collaborative installation by New Orleans conceptual artist Dawn DeDeaux and Alabamian self-taught sculptor and musician Lonnie Holley. Deeply influenced by their southern roots\, both artists mine the landscapes around them for found objects (a nod to Rauschenberg’s “combines”) and engage in dialogues around issues of ecology and social justice. DeDeaux and Holley firmly believe that through art\, they can address these issues and “help heal the mothership.” Both DeDeaux and Holley frequently experiment with mixed media and incorporate performance into their practice — ranging from totemic found objects and photography to experimental blues music and Afrofuturist philosophies. These artists share a deeply held sense of resoluteness and optimism that infuses their art. Holley states: “There are so many rocks and so many broken stones and so many nails and sticks and weeds and debris and garbage and trash. We have to plow and mine the worst things on this earth to make them better\, and to make us better\, so we can show the world: I can handle it. I can deal with it. I can live with it. I can go on.”\n\njQuery(document).ready(function(){ jQuery("#amw_galleria_slideshow_4").galleria({"dataSource":[{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS90175_THE-VANQUISHED-G-Force-2-DeDeaux-300mmv-lpr-707x1560.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS90175_THE-VANQUISHED-G-Force-2-DeDeaux-300mmv-lpr-707x1560.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS90175_THE-VANQUISHED-G-Force-2-DeDeaux-300mmv-lpr-353x780.jpg"\,"title":"Dawn DeDeaux\, THE VANQUISHED \/  G -FORCE #2\, 2016"\,"description":"Digital Drawings on Archival Paper mounted to metal panel. \n85 X 38.5 in.  (per panel)"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS90488_Lonnie-Holley-Weighed-Down-By-the-Hose-2008-Photo-by-John-Bentham-lpr-878x698.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS90488_Lonnie-Holley-Weighed-Down-By-the-Hose-2008-Photo-by-John-Bentham-lpr-878x698.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS90488_Lonnie-Holley-Weighed-Down-By-the-Hose-2008-Photo-by-John-Bentham-lpr-780x620.jpg"\,"title":"Lonnie Holley\, Weighed Down by the Hose\, 2008"\,"description":"Mixed media\, \n32 x 43 x 58 in."}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS92558_Thumbs_Up_5-15-17-15-lpr-878x1118.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS92558_Thumbs_Up_5-15-17-15-lpr-878x1118.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS92558_Thumbs_Up_5-15-17-15-lpr-613x780.jpg"\,"title":"Dawn DeDeaux\, Found Object: Mardi Gras Masque of the Babylonian Style\, 2014"\,"description":"Courtesy of the artist"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS92589_Thumbs_Up_5-15-17-43-lpr-878x1317.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS92589_Thumbs_Up_5-15-17-43-lpr-878x1317.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS92589_Thumbs_Up_5-15-17-43-lpr-520x780.jpg"\,"title":"Lonnie Holley\, Climbing to Better Understand the World\, 2014"\,"description":"109 x 38 x 44. \nLibrary ladder\, barbed wire\, wires (from computers\, telephones\, and other electronics)\, globe\, computer keyboard\, computer monitor. \nCourtesy of the Arnett Collection\, Atlanta\, GA\n "}]\,"width":"auto"\,"height":0.76\,"autoplay":false\,"transition":"slide"\,"initialTransition":"fade"\,"transitionSpeed":0\,"_delayTime":4000\,"_hideControls":false\,"_thumbnailMode":"grid"\,"_captionMode":"on_expand"}); });\nFurther Reading\nBetween Apocalypses\, The New York Times\, October 2014\nLonnie Holley\, the Insider’s Outsider\, The New York Times\, January 2014 \n\n \nThumbs Up for the Mothership is a collaboration with the Robert Rauschenberg Foundation residency program at Captiva Island\, Florida. Exhibition support is provided by the Horace W. Goldsmith Foundation\, the Barr Foundation\, and the Mass Cultural Council. \nDawn DeDeaux\, Mothership III THE STATION\, 2014-15\nInstallation Entrance / Evening View\, 30′ and 50′ truss rings\, ladders\, Zeppelin Series images on aluminum\, each at 4′ × 6′ \n \n
URL:https://massmoca.org/event/thumbs-up-for-the-mothership/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
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CATEGORIES:Archive Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2016/12/DeDeaux-MotherShip-featured.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T080000
DTEND;TZID=America/New_York:20270501T170000
DTSTAMP:20260405T163352
CREATED:20170419T194001Z
LAST-MODIFIED:20180905T202701Z
UID:20813-1495958400-1809190800@massmoca.org
SUMMARY:Earmarks II The World of MASS MoCA in Sound Art
DESCRIPTION:Walkways vibrating with voices\, aural hauntings\, solar-powered sonic landscapes\, and instruments that look like buildings: EarMarks II traces new developments in sound art since MASS MoCA’s first EarMarks exhibition 20 years ago. New works by Klaas Hübner and Andrew Schrock of New Orleans Airlift and by Craig Colorusso join long-term installations by Sam Auinger and Bruce Odland\, Christina Kubisch\, Walter Fähndrich\, Zarouhie Abdalian\, Stephen Vitiello\, and Julianne Swartz in this celebration of sound as medium and subject matter.\nCraig Colorusso’s Sun Boxes can be seen at the following locations this summer:\nMay 28: Opening Celebration\, MASS MoCA’s Courtyard A\nJune 1: Colegrove Park (24 Church Street\, North Adams)\nJune 9: Colegrove Park\nJune 16: Colegrove Park\nJune 23: Solid Sound\, MASS MoCA’s Courtyard A \n\n \nSun Boxes and Corrugarou are part of the NAX programming\, which was made possible by support from the Barr Foundation\, The Educational Foundation of America\, Bloomberg Philanthropies\, The Robert W. Wilson Charitable Trust\, Franklin County CDC\, and First Hartford Realty\, with in-kind support from Karen Brooks Hopkins. For more information on NAX\, visit explorenorthadams.com/nax. \nCorrugarou is presented by TOURISTS and was built in North Adams with the skilled assistance of Jim White\, Dick Pellerin\, Ed Therrien\, and their staff at Morrison Berkshire\, with the generous support of George Apkin & Sons in honor of Philip Apkin and Benjamin Apkin. \nCraig Colorusso\, Sun Boxes\, 2015\nImage courtesy of the artist \n
URL:https://massmoca.org/event/earmarks-ii/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Archive Exhibitions,Art,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2017/04/RS91167_IMG_9489-Featured_Full.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T100000
DTEND;TZID=America/New_York:20260501T170000
DTSTAMP:20260405T163352
CREATED:20170517T163519Z
LAST-MODIFIED:20180628T153234Z
UID:22004-1495965600-1777654800@massmoca.org
SUMMARY:Deeper Look: Jenny Holzer We're at War
DESCRIPTION:We’re at War yellow white\, 2006\nOil on linen\, 2 elements\n33 x 51 x 1.5 in. \nLocation: South Hall \nMemorandum from then Director of Intelligence\, George Tenet\, written on September 16\, 2001\, with the subject line: “We’re at War.” The memo calls for bureaucratic transparency as it calls for winning the war against Al Qaeda. \nThe original source document for this work can be found here. \n
URL:https://massmoca.org/event/jenny-holzer-were-at-war/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Jenny Holzer
ATTACH;FMTTYPE=image/gif:https://massmoca.org/wp-content/uploads/2017/05/JH1064_Were-at-War-2-featured.gif
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T100000
DTEND;TZID=America/New_York:20200501T170000
DTSTAMP:20260405T163352
CREATED:20170526T211821Z
LAST-MODIFIED:20191107T202823Z
UID:22238-1495965600-1588352400@massmoca.org
SUMMARY:Jenny Holzer
DESCRIPTION:
URL:https://massmoca.org/event/j_e_n_n_y_h_o_l_z_e_r/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Archive Exhibitions,Building 6,Exhibition
ATTACH;FMTTYPE=image/gif:https://massmoca.org/wp-content/uploads/2017/05/JH-MM-featured.gif
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T110000
DTEND;TZID=America/New_York:20250501T170000
DTSTAMP:20260405T163352
CREATED:20161205T215250Z
LAST-MODIFIED:20260322T204038Z
UID:16881-1495969200-1746118800@massmoca.org
SUMMARY:Laurie Anderson
DESCRIPTION:Laurie Anderson is one of America’s most reknowned – and daring – creative pioneers. Known primarily for her multimedia presentations\, she has cast herself in roles as varied as visual artist\, composer\, poet\, photographer\, filmmaker\, electronics whiz\, vocalist\, and instrumentalist. Her seemingly boundless oeuvre includes the creation of books\, albums\, and performances that incorporate film\, slides\, recorded audio\, live music\, and spoken word. ​\nAnderson has long been recognized as a groundbreaking leader in the use of technology in the arts and has developed new musical instruments\, including the tape bow violin\, in which the bow has been replaced with magnetic audiotape and the bridge with a reader. She was one of MASS MoCA’s first artists-in-residence and has returned to the museum many times to develop and discuss works-in-progress.\nIn The Robert W. Wilson Building (B6)\, Anderson invites viewers to explore a multi-functional constellation of galleries and installations including works that explore AI\, a look back at past proposals and performance images\, and her ongoing exploration of the many ways in which we can tell stories. Please note that Chalkroom and To the Moon virtual reality experiences have been retired. \n\njQuery(document).ready(function(){ jQuery("#amw_galleria_slideshow_5").galleria({"dataSource":[{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS94294_PH6A1481-878x585.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS94294_PH6A1481-878x585.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS94294_PH6A1481-780x520.jpg"\,"title":"Laurie Anderson\, The Chalkroom\, 2017"\,"description":"Virtual reality installation with Hsin-Chien Huang"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS93712_20170528-B6_Opening-29-lpr-878x586.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS93712_20170528-B6_Opening-29-lpr-878x586.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS93712_20170528-B6_Opening-29-lpr-780x520.jpg"\,"title":"Laurie Anderson\, Handphone Table\, 1978"\,"description":"In Handphone Table\, visitors are invited to perceive sounds through the bones in their elbows."}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS100455__DSC6147-lpr-878x585.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS100455__DSC6147-lpr-878x585.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS100455__DSC6147-lpr-780x520.jpg"\,"title":"Laurie Anderson\, Aloft\,"\,"description":"Virtual reality installation\,\nA virtual collection of stories\, sounds and spaces.\nAn airplane ride like none other."}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS92608_c10-lpr-878x441.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS92608_c10-lpr-878x441.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS92608_c10-lpr-780x392.jpg"\,"title":"Laurie Anderson\, The Chalkroom\, 2017"\,"description":"Virtual reality installation with Hsin-Chien Huang\nA virtual collection of stories\, sounds and spaces\nCourtesy of the artists"}]\,"width":"auto"\,"height":0.76\,"autoplay":false\,"transition":"slide"\,"initialTransition":"fade"\,"transitionSpeed":0\,"_delayTime":4000\,"_hideControls":false\,"_thumbnailMode":"grid"\,"_captionMode":"on_expand"}); });\nFurther Reading\nInterview with Laurie Anderson\, f news Magazine\, April 2006 \n\nDownload a PDF of the exhibition guide here. \nPrincipal exhibition support is provided by the Sakana Foundation. Major support for the virtual reality installation with Hsin-Chien Huang is provided by the Rainbow Initiative – Funds for Collaborative Cultural Projects by the Ministry of Culture\, Taiwan\, and National Chengchi University\, Taiwan. Additional support is provided by Bowers & Wilkins. \nLaurie Anderson\, The Chalkroom\, 2017\nPhoto: Christin DeFord \n
URL:https://massmoca.org/event/laurie-anderson/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Building 6,Current Exhibitions,Exhibition,Featured Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2016/12/RS94297_PH6A1484-3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T110000
DTEND;TZID=America/New_York:20270501T170000
DTSTAMP:20260405T163352
CREATED:20161205T215903Z
LAST-MODIFIED:20240918T213124Z
UID:16878-1495969200-1809190800@massmoca.org
SUMMARY:Louise Bourgeois
DESCRIPTION:Louise Bourgeois described her artistic practice as an attempt to work through whatever tumult plagued her — psychologically\, personally\, artistically — to find perfect harmony. Her work often references human anatomy and sexuality\, in some instances overtly and in others more subtlely through organic and ambiguous forms. Her oeuvre encompassed drawings\, paintings\, textiles\, embroidered works\, sculpture\, and installations ranging in scale from a few inches to fully immersive environments. Bourgeois began working with marble in the early 1960s while living in Avenza\, Italy\, and the medium proved particularly compelling for the artist — its resilience and difficulty pushing her creative boundaries. For B6: The Robert W. Wilson Building\, MASS MoCA\, in partnership with the Louise Bourgeois Trust\, presents a group of the artist’s marble sculptures\, some of which have never been seen previously in the United States. The works fluctuate between the whimsical and the grotesque\, the threatening and the nurturing\, highlighting Bourgeois’ investigations of the polarities of the emotions that were her subjects. The installation also speaks to the artist’s ease with both intimate pieces and works of monumental scale\, with one sculpture weighing in at 15 tons. The design of the gallery that houses these works in the Robert W. Wilson Building was constructed specifically to hold the enormous weight.\n\njQuery(document).ready(function(){ jQuery("#amw_galleria_slideshow_6").galleria({"dataSource":[{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS92512_Bourgeois_Couple_5-16-17-1-lpr-878x690.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS92512_Bourgeois_Couple_5-16-17-1-lpr-878x690.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS92512_Bourgeois_Couple_5-16-17-1-lpr-780x613.jpg"\,"title":"Louise Bourgeois\, The Couple\, 2007-09"\,"description":"Cast and polished aluminum\, \n61 x 30 x 26 inches (155 x 76.2 x 66 cm)\nEdition of six\nCollection Louise Bourgeois Trust"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS42059_pass-0786-PB-2_LG-lpr-878x1052.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS42059_pass-0786-PB-2_LG-lpr-878x1052.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS42059_pass-0786-PB-2_LG-lpr-651x780.jpg"\,"title":"Louise Bourgeois\, Pass\, 1988-1989"\,"description":"Marble\,\n50 1\/2 x 48 x 37″ (128.2 x 121.9 x 93.9 cm) \nCollection Louise Bourgeois Trust\nPhoto: Peter Bellamy\, \u00a9 The Easton Foundation \/ Licensed by VAGA\, NY"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS92517_Bourgeois_Velvet_Eyes_5-15-17-3-lpr-878x690.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS92517_Bourgeois_Velvet_Eyes_5-15-17-3-lpr-878x690.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS92517_Bourgeois_Velvet_Eyes_5-15-17-3-lpr-780x613.jpg"\,"title":"Louise Bourgeois\, Nature Study (Velvet Eyes)\, 1984"\,"description":"Marble and steel\, \nApprox. 26 x 33 x 27 inches (66 x 83.8 x 68.6 cm)\nJoan and Michael Salke\, \nSalke Family Trust"}]\,"width":"auto"\,"height":0.76\,"autoplay":false\,"transition":"slide"\,"initialTransition":"fade"\,"transitionSpeed":0\,"_delayTime":4000\,"_hideControls":false\,"_thumbnailMode":"grid"\,"_captionMode":"on_expand"}); });\n  \nFurther Reading\nLouise Bourgeois: The Complete Prints and Books\, The Museum of Modern Art\nAn Era for Women Artists?\, The Atlantic\, December 2016\nLouise Bourgeois – the reluctant hero of feminist art\, The Guardian\, March 2016\nLouise Bourgeois\, Art21\, September 2001\nLouise Bourgeois\, Cumul I\, SmartHistory\, August 2015\nLouise Bourgeois\, Influential Sculptor\, Dies at 98\, The New York Times\, May 2010\nLouise Bourgeois – ‘I Transform Hate Into Love’\, TateShots\, Tate Museum\, June 9\, 2016 \n  \n\n \nDownload a PDF of the exhibition gallery guide here. \nMajor exhibition support is provided by Joan and Michael Salke. \nUntitled\, 1991-2000\nWhite marble\, two units\n1st: 73 × 74 × 115″; 185 × 188 × 292 cm.\n2nd: 80 3/4 × 43 1/2 × 100″; 205 × 110 × 254 cm.\nphoto by Christopher Burke © The Louise Bourgeois Trust / Licensed by VAGA\, NY \n
URL:https://massmoca.org/event/louise-bourgeois/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Building 6,Current Exhibitions,Exhibition,Featured Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2016/06/LouiseBourgeois_detail-full.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T110000
DTEND;TZID=America/New_York:20250501T170000
DTSTAMP:20260405T163352
CREATED:20161205T222710Z
LAST-MODIFIED:20250930T194632Z
UID:16880-1495969200-1746118800@massmoca.org
SUMMARY:Gunnar Schonbeck No Experience Required
DESCRIPTION:Over a period of fifty years\, Gunnar Schonbeck assembled a collection of hundreds of instruments\, handmade from a diverse and unexpected range of materials. His unmistakable works include a 9-ft banjo\, 8-ft tall marimba\, drums made from aircraft fuselages\, welded steel harps and countless steel drums\, zithers\, pan pipes\, tubular chimes\, and triangular cellos. His practice drew on a core philosophy: anyone can be a musician\, and music can be made from the most ordinary of objects.\n \n\njQuery(document).ready(function(){ jQuery("#amw_galleria_slideshow_7").galleria({"dataSource":[{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS100460__DSC6195-scr.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS100460__DSC6195-scr.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS100460__DSC6195-scr-780x520.jpg"\,"title":"Gunnar Schonnbeck\, No Experience Required\, 1947-2008"\,"description":""}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS94343_PH6A2999-lpr-878x585.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS94343_PH6A2999-lpr-878x585.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS94343_PH6A2999-lpr-780x520.jpg"\,"title":"Gunnar Schonnbeck\, No Experience Required\, 1947-2008"\,"description":""}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS92846_Schoenbeck_5-25-17-3-lpr-878x585.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS92846_Schoenbeck_5-25-17-3-lpr-878x585.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS92846_Schoenbeck_5-25-17-3-lpr-780x520.jpg"\,"title":"Gunnar Schonnbeck\, No Experience Required\, 1947-2008"\,"description":""}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS93093_DSC_1795-2-scr.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS93093_DSC_1795-2-scr.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS93093_DSC_1795-2-scr-780x517.jpg"\,"title":"Gunnar Schonnbeck\, No Experience Required\, 1947-2008"\,"description":""}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS90232_20170216-IMG_1265-lpr-878x1316.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS90232_20170216-IMG_1265-lpr-878x1316.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS90232_20170216-IMG_1265-lpr-520x780.jpg"\,"title":"Gunnar Schonnbeck\, No Experience Required\, 1947-2008"\,"description":"Mark Stewart of the Bang on a Can Allstars"}]\,"width":"auto"\,"height":0.76\,"autoplay":false\,"transition":"slide"\,"initialTransition":"fade"\,"transitionSpeed":0\,"_delayTime":4000\,"_hideControls":false\,"_thumbnailMode":"grid"\,"_captionMode":"on_expand"}); });\n  \nIn 2011\, MASS MoCA worked with Bennington College\, where Schonbeck taught from 1947-2008\, to move Schonbeck’s surviving instruments from the college to the museum. Over the last five years\, visiting musicians to MASS MoCA\, including Bang on a Can’s Mark Stewart and Wilco’s Glenn Kotche\, have drawn on Schonbeck’s instruments in their performances and projects. With the restoration and renovation of B6: The Robert W. Wilson Building\, MASS MoCA brings Schonbeck’s distinct approach to music-making to a wide audience\, encouraging visitors and artists to play and experiment. A gallery devoted to the musicologist feels like a high school music room — outfitted with a selection of Schonbeck’s instruments available to visiting artists\, MASS MoCA visitors\, and local school groups. \nFurther Reading\nNick Brooke on Gunnar Schonbeck\n“The unlikely roadtrip of Gunnar Schonbeck’s creations\,” Bennington Banner (2011)\nPeople Magazine profile (1982) \n\n \nMajor exhibition support is provided by Bradley and Terrie Bloom. Contributing exhibition support is provided by AVANGRID Foundation\, Inc.\, Berkshire Gas\, and MountainOne. Additional support is provided by John Bertles\, Nick Brooke\, John D. Carlson\, Amy Jennings\, Gail Schonbeck\, Katy Schonbeck\, and Karin Shaw. \n
URL:https://massmoca.org/event/gunnar-schonbeck/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Building 6,Current Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2016/06/Gunnar-Schonbeck-featured.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T110000
DTEND;TZID=America/New_York:20290501T170000
DTSTAMP:20260405T163352
CREATED:20161205T222758Z
LAST-MODIFIED:20251026T135304Z
UID:16879-1495969200-1872349200@massmoca.org
SUMMARY:James Turrell Into The Light
DESCRIPTION:Advance reservations are required at no additional charge to view James Turrell’s Perfectly Clear and Hind Sight. Reservations are not required to view the other works on view in the exhibition. \nIn James Turrell’s hands\, light is more than simply a source of illumination: it is a discrete\, physical object. His sculptures and architectural interventions elevate our experience and perception of light and space. Squares of sky seem to float\, suspended\, in ceilings or walls; architecture disintegrates; and brilliant geometric shapes levitate in midair.\nTurrell began using light as a sculptural medium in 1966\, painting the windows of his studio in Santa Monica to seal off the natural light and experimenting with projections. His practice has been shaped by the ongoing manipulation of architecture\, framing and altering the way viewers engage with the environment. A pioneer in the Southern California Light and Space movement\, MASS MoCA presents a multi-decade retrospective of Turrell’s work in B6: The Robert W. Wilson Building — with galleries designed and constructed specially to best accentuate his installations.\nWith the addition of C.A.V.U (Skyspace) joining Into the Light\, MASS MoCA is the only North American museum offering a comprehensive overview of James Turrell’s career.\n\nAbout Perfectly Clear (Ganzfeld)\n\nJames Turrell’s installation Perfectly Clear (Ganzfeld)—pictured above—is one of a series of works that uses light effects to draw our attention to the way we perceive our surroundings and\, ultimately\, to recognize the uncertainty of perception. Throughout the 10-15 minute experience\, a bath of changing color fills the room\, punctuated by periodic bursts of strobing light. As the light changes\, viewers watch the boundaries of the space disappear before their eyes as if the room has been shrouded in a cloud of mist. Ganzfeld is a German term that describes a uniform or “whole field” which produces a loss of depth perception. This phenomenon can in turn produce an array of effects in the brain. Like all of Turrell’s work\, Perfectly Clear creates conditions that allows viewers to see themselves seeing. Make reservations to experience Perfectly Clear (Ganzfeld). \n\n\n\nAbout Hind Sight\n\nHind Sight\, one of James Turrell’s “dark spaces\,” is designed to be experienced by two visitors\, who make their way through a darkened hall to an enclosed space with two chairs and seemingly no discernible light. The experience lasts 15 minutes\, just long enough for the rods in the eye to begin adapting to the darkness. Like all of Turrell’s works\, Hind Sight helps us pay close attention to the experience of seeing. Make reservations to experience Hind Sight. \n\n\n  \nJames Turrell’s C.A.V.U. (Skyspace) is open during museum hours with no reservations required. Reservations are required to experience C.A.V.U. at dawn or dusk\, learn more here. \n\njQuery(document).ready(function(){ jQuery("#amw_galleria_slideshow_8").galleria({"dataSource":[{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS94801_67-lpr-878x1316.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS94801_67-lpr-878x1316.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS94801_67-lpr-520x780.jpg"\,"title":"James Turrell\, Into the Light (Installation view)\, 2017"\,"description":"Installation view of Roden Crater models\n\u00a9 James Turrell\, Photo by Florian Holzherr"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS94822_88-lpr-878x1316.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS94822_88-lpr-878x1316.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS94822_88-lpr-520x780.jpg"\,"title":"James Turrell\, Large Transmission Holograms\, 2007"\,"description":"Collection of Kyung-Lim Lee Turrell\n\u00a9 James Turrell\, Photo by Florian Holzherr"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS94794_60-lpr-878x586.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS94794_60-lpr-878x586.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS94794_60-lpr-780x520.jpg"\,"title":"James Turrell\, Dissolve (Curved Wide Glass)\, 2017"\,"description":"Collection of Hudson C. Lee \n\u00a9 James Turrell\, Photo by Florian Holzherr"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS94737_3-lpr-878x1319.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS94737_3-lpr-878x1319.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2016\/12\/RS94737_3-lpr-519x780.jpg"\,"title":"James Turrell\, Afrum (Projection)\, 1967"\,"description":"Collection of the Solomon R. Guggenheim Museum \n\u00a9 James Turrell\, Photo by Florian Holzherr "}]\,"width":"auto"\,"height":0.76\,"autoplay":false\,"transition":"slide"\,"initialTransition":"fade"\,"transitionSpeed":0\,"_delayTime":4000\,"_hideControls":false\,"_thumbnailMode":"grid"\,"_captionMode":"on_expand"}); });\nFurther Reading\nTimelapse of Ganzfeld construction\, National Gallery of Australia\, April 2015\n‘It’s Not About Light—It Is Light’\, ArtNews\, September 2013\nThe Mind-Bending Science Of James Turrell’s Art\, Popular Science\, September 2013\nThe Quaker Meaning of Light (and James Turrell’s work)\, Helen Meads\, 2014\nMap of Turrell Skyspaces \n\n\nYou can download a PDF of the exhibition guide here. \nPrincipal exhibition support is provided by The Robert W. Wilson Charitable Trust\, Elisabeth Roche Wilmers and Robert Wilmers\, and Ann and Graham Gund. Major exhibition support is provided by Scott and Ellen Hand\, The Henry Luce Foundation\, George and Lizbeth Krupp\, the Francis Greenburger Charitable Fund of the Jewish Communal Fund\, George W. Ahl III\, Goldman Sachs Gives at the request of R. Martin Chavez\, and Hansjörg Wyss. Contributing exhibition support is provided by The Rosenkranz Foundation\, Julie and David Tobey\, and The Linbeck Group\, LLC. \nBreathing Light\, 2013\nLED Light into space\, dimensions variable\nLos Angeles County Museum of Art\nphoto by Florian Holzherr\n© James Turrell \n
URL:https://massmoca.org/event/james-turrell/
LOCATION:B6: The Robert W. Wilson Building
CATEGORIES:Current Exhibitions,Exhibition,Featured Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2016/12/James-Turrell-featured.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T110000
DTEND;TZID=America/New_York:20250501T170000
DTSTAMP:20260405T163352
CREATED:20161205T223146Z
LAST-MODIFIED:20201013T125734Z
UID:18331-1495969200-1746118800@massmoca.org
SUMMARY:Robert Rauschenberg Lurid Attack of the Monsters
DESCRIPTION:\nRobert Rauschenberg’s approach to art making was expansive and generous and his works reveal his sharp-eyed observations. Harvesting imagery and ideas from the daily news\, politics\, popular culture\, and from his vast circle of friends and fellow artists\, he created works which were a prescient harbinger of today’s culture of sampling and remix. Rauschenberg was also deeply interested in dance\, film and the history of art\, and was known for his fusion of the performing and visual arts as well as his life-long collaborations with dancers\, choreographers\, and theater artists. If expansive in content and form\, he was just as endlessly inventive in his use of an exceptionally wide range of materials – from traditional media like paint and silkscreen\, to plastics\, foils\, neon and found objects salvaged from scrap yards and back alleys; his freewheeling approach to art merged his life and the world around him with a seamless\, exuberant energy that continues to influence artists today.\nThe Lurid Attack of the Monsters from the Postal News Aug. 1875 (Kabal American Zephyr) (1981) is part of a sculpture series inspired by the illustrations of the 19th century Japanese printmaker Tsukioka Yoshitoshi. In 1875 Yoshitoshi made prints for the Yūbin hōchi shinbun newspaper to illustrate crime\, politics\, and public interest stories. Rauschenberg’ cannon-like work features a collage of images ranging from nature scenes to boats at sea\, John Lennon playing piano\, skydivers\, and soldiers wearing gas masks. Lurid Attack is rather foreboding\, confronting viewers with its low-slung\, precarious length and menacing maw-like row of toothy saws bent under tension..\nFurther Reading\nRobert Rauschenberg\, Canyon\, SmartHistory\, August 2015 \n\nMajor exhibition support is provided by the Horace W. Goldsmith Foundation\, the Barr Foundation\, and the Mass Cultural Council. \nRobert Rauschenberg\, Lurid Attack of the Monsters from the Postal News\, 1981\nphoto by David Dashiell \n \n\n
URL:https://massmoca.org/event/robert-rauschenberg/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Archive Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2016/12/92684_1920x1920@72ppi.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T110000
DTEND;TZID=America/New_York:20270531T170000
DTSTAMP:20260405T163352
CREATED:20161206T182410Z
LAST-MODIFIED:20170528T143058Z
UID:18407-1495969200-1811782800@massmoca.org
SUMMARY:B6: The Robert W. Wilson Building Architecture
DESCRIPTION:“Lifting the veil on Mass MoCA’s expansion\,” The Boston Globe explores the renovations and long-term partnerships of MASS MoCA’s B6: The Robert W. Wilson Building.\nOn May 28\, 2017\, MASS MoCA opened its newly renovated and restored B6: The Robert W. Wilson Building\, adding 105\,000 square feet of space\, nearly doubling the institution’s current gallery footprint and adding new art fabrication workshops\, performing artists’ support facilities\, and music festival amenities. The centerpiece of the building is a series of changing exhibitions and long-term installations and collaborations with artists Laurie Anderson\, Jenny Holzer\, and James Turrell\, the Louise Bourgeois Trust\, the Robert Rauschenberg Foundation\, and the estate of Gunnar Schonbeck.\nThe Robert W. Wilson Building sits at the western perimeter of MASS MoCA’s campus\, its prow-like triangular footprint shaped by the confluence of the north and south branches of the Hoosic River. Visitors enter the new space through Building 5\, the signature gallery for MASS MoCA’s large-scale installations\, which features Nick Cave’s Until through August 2017. The Robert W. Wilson Building\, a three-story post-and-beam structure\, is distinguished by the ample natural light that enters through the hundreds of windows lining the perimeter of the building. Additional natural light filters into the core of the space through a historic window well that was filled by former tenants\, but which was restored during this renovation\, its roof replaced with a skylight measuring 20’ wide by 140’ long. This rediscovered space brings light into the heart of the building and incorporates a new series of stairs and bridges that encourage easy movement between floors and across the two sides of the building. \nAs part of its design\, Cambridge\, Massachusetts-based Bruner/Cott & Associates sought to balance the rough-hewn industrial beauty of the Robert W. Wilson Building’s original interior — including its many steel pillars\, acres of wood flooring\, and exposed brick walls — with 21st-century structural requirements and the need for specialized galleries and materials handling requirements to accommodate MASS MoCA’s inventive and often dramatically scaled exhibitions. In keeping with the ethos of exposed industrial materials\, more than 800 new steel structural supports were installed throughout the building\, some visibly reinforcing the exterior walls as well as the floors\, and some supporting heavy-scale works\, such as an untitled\, monumental\, white marble work by Louise Bourgeois\, weighing nearly 30 tons. As part of the renovation\, more than 5\,000 original bricks were removed\, cleaned\, and re-used\, as was over 60\,000 square feet of maple flooring. While much of the building’s original floor plan remains intact\, Bruner/Cott designed new\, multi-level gallery spaces that allow for long cross-gallery views\, as well as the installation of multi-story works by James Turrell\, which explore light and space through a series of rigorously light-controlled chambers and entry processionals specified by the artist. Bruner/Cott’s design also adds a dramatic two-story mullioned window at the western prow of the building\, facing west to the Berkshire and Taconic Mountains in a space conceived for social gatherings\, rest\, and reading. \n
URL:https://massmoca.org/event/building-6-architecture/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Building 6,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2016/12/B6-landing-featured.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T110000
DTEND;TZID=America/New_York:20260401T170000
DTSTAMP:20260405T163352
CREATED:20170321T173424Z
LAST-MODIFIED:20230815T203400Z
UID:20153-1495969200-1775062800@massmoca.org
SUMMARY:Joe Wardwell Hello America: 40 Hits from the 50 States
DESCRIPTION:Boston-based artist Joe Wardwell’s Hello America: 40 Hits from the 50 States\, a new wall drawing for MASS MoCA\, takes inspiration from J.G. Ballard’s 1981 novel Hello America. The book begins after an energy crisis in the late 20th century that leaves America all but abandoned. A century later a group of European explorers finds a radically changed country\, a desert landscape parched by the damming of the Bering Strait. The expedition starts in Manhattan and ends in Las Vegas where a tyrannical leader has named himself both Charles Manson and President of the United States. The moment that inspired Wardwell\, and seemed like an all-too-eerie nod to our current political climate\, comes when “President Manson” grabs the primary protagonist\, who is filled with longing for a far-too-distant “American dream” and declares “together\, Wayne\, we will make America great again!”\n\n		\n	\n	\n	\n	\n		Joe-Wardwell-at-MASS-MoCA-Medium-James-Hull	\n	\n	{"type":"video"\,"tracklist":false\,"tracknumbers":true\,"images":true\,"artists":true\,"tracks":[{"src":"https://massmoca.org/wp-content/uploads/2020/01/Joe-Wardwell-at-MASS-MoCA-Medium-James-Hull.mp4"\,"type":"video/mp4"\,"title":"Joe-Wardwell-at-MASS-MoCA-Medium-James-Hull"\,"caption":""\,"description":"Joe Wardwell installs \u003Cem\u003EHello America: 40 Hits from the 50 States\u003C/em\u003E."\,"meta":{"length_formatted":"0:59"}\,"dimensions":{"original":{"width":854\,"height":480}\,"resized":{"width":-22\,"height":-12}}\,"image":{"src":"https://massmoca.org/wp-includes/images/media/video.svg"\,"width":48\,"height":64}\,"thumb":{"src":"https://massmoca.org/wp-includes/images/media/video.svg"\,"width":48\,"height":64}}]}\n\n	\nThe subtitle for Wardwell’s project is inspired by the experimental music group Negativland’s controversial 1991 song “I Still Haven’t Found Snuggles.” The song features a loop of famed “America’s top 40” radio host Casey Kasem as he breaks his usual cheerful veneer while reading a story of a family pet passing away\, followed by an up-tempo song from the band U2. The shift in tone provokes Kasem into a string of expletives and rants. Negativland repeats the clip over a sample of U2’s song “I Still Haven’t Found What I’m Looking For\,” which becomes the score to an increasingly incoherent rant\, exposing Kasem’s base instinct in this behind-the-scenes view of an icon of American culture. \nBoth of these influences speak to shattered American dreams. With these two sources as his launching point\, Wardwell fashions a layered work that looks at America through the lens of landscape imagery\, political slogans\, and lyrics. The work begins with a silhouetted line of bare winter trees taken from the scenic vistas of the Berkshires. Over this\, Wardwell paints a dusky post-apocalyptic landscape of yellows and blues. On top of it all he layers large letters — a slogan camouflaged within the landscape\, with lyrics such as punk band Mission of Burma’s “Fame and fortune is a stupid game / Fame and fortune is the game I play.” The final layer is a series of screen-printed texts — 40 texts for the top 40 hits — in repeated vertical bands. \nThe “40 hits” are culled from a collection of quotes from various American sources ranging from past presidential campaign slogans\, to ruminations on the end of the United States\, to the role of government and the rules of law. Song lyrics feature works by Jello Biafra\, Chuck D\, Anne Sexton\, Hunter S. Thompson\, Abraham Lincoln\, William McKinley\, Bill Clinton\, e.e. cummings\, Barack Obama\, Henry Rollins\, Maya Angelou\, and others. In the end\, the work is a fragmented portrait in which the larger text\, smaller slogans\, and landscape function much like the assembled fragments of culture that the explorers in Ballard’s Hello America uncover in their epic journey across the forgotten land. \nMajor exhibition support is provided by the Horace W. Goldsmith Foundation\, the Barr Foundation\, and the Mass Cultural Council. \nJoe Wardwell\, A Political Bandit\, 2015\nOil and dye on canvas\, 22 × 26 in. \n \n
URL:https://massmoca.org/event/joe-wardwell-hello-america/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Building 6,Current Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2017/03/JoeWardwell_featured.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T110000
DTEND;TZID=America/New_York:20250818T170000
DTSTAMP:20260405T163352
CREATED:20170419T185926Z
LAST-MODIFIED:20250930T194826Z
UID:20787-1495969200-1755536400@massmoca.org
SUMMARY:Sol LeWitt Structures
DESCRIPTION:A new adjunct to MASS MoCA’s long-running Sol LeWitt exhibition A Wall Drawing Retrospective\, a concise selection of the artists’ three-dimensional sculptures is on view in B6: The Robert W. Wilson Building. The works illustrate the generative potential for LeWitt’s serial approach.\nSol LeWitt\, Negative Pyramid\, 1997\nCourtesy the estate of Sol LeWitt\nPhoto courtesy Rhona Hoffman Gallery\, Chicago \n
URL:https://massmoca.org/event/sol-lewitt-structures/
LOCATION:Galleries\, United States
GEO:37.09024;-95.712891
CATEGORIES:Archive Exhibitions,Building 6,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2017/04/RS91481_SolLeWitt_NegativePyramid_1997-Featured_2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T110000
DTEND;TZID=America/New_York:20250601T170000
DTSTAMP:20260405T163352
CREATED:20170419T191119Z
LAST-MODIFIED:20250724T131907Z
UID:20795-1495969200-1748797200@massmoca.org
SUMMARY:The Metabolic Studio/Optics Division Hoosic: The Beyond Place
DESCRIPTION:In October 2016\, artists Lauren Bon\, Richard Nielsen\, and Tristan Duke of the Optics Division of the Metabolic Studio spent a week at MASS MoCA using their Liminal Camera — a moveable\, monumental camera built from a repurposed shipping container — to create a series of portraits of B6: The Robert W. Wilson Building. The team examined the adjacency of this repurposed industrial building to the industrialized Hoosic River. To make the prints on display\, the Optics Division collected Hoosic water and poured it over the paper during printing\, imbuing the image with ripples of river water.\nMetabolic Studio Optics Division\, Hoosic: The Beyond Place 1\, 2016-17 (detail)\nImage courtesy the artist \n
URL:https://massmoca.org/event/liminal-camera-building-6-portrait/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Archive Exhibitions,Building 6,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2017/04/RS90711_LCC.2016.49MP1_crop_clean-hpr-Featured_Full.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T110000
DTEND;TZID=America/New_York:20260401T170000
DTSTAMP:20260405T163352
CREATED:20170421T144808Z
LAST-MODIFIED:20250214T152108Z
UID:21645-1495969200-1775062800@massmoca.org
SUMMARY:Sarah Crowner Wall (Hot Blue Terra Cotta)
DESCRIPTION:Sarah Crowner’s gorgeous 10 × 20 foot tile mural Wall (Hot Blue Terra Cotta) — fabricated for her 2016 MASS MoCA exhibition — now guides visitors in and out of the museum’s new gallery spaces. Known for her bold and graphic work in a variety of mediums spanning the fine and applied arts\, Crowner finds the forms and patterns of abstraction in the everyday. Her monumental structure transforms painting into architecture (and vice versa)\, with the imperfections and eccentricities of the hand-glazed tiles functioning like a painter’s gestures.\nSarah Crowner\, Wall (Hot Blue Terra Cotta)\nCourtesy of the artist and Luhring Augustine\nPhoto by David Dashiell \n
URL:https://massmoca.org/event/sarah-crowner-wall-hot-blue-terracotta/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Building 6,Current Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2017/04/RS73161_Sarah_Crowner_Shoot_4-18-16-33-hpr-Featured_Full.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T110000
DTEND;TZID=America/New_York:20260501T170000
DTSTAMP:20260405T163352
CREATED:20170517T165901Z
LAST-MODIFIED:20180628T152125Z
UID:22017-1495969200-1777654800@massmoca.org
SUMMARY:Deeper Look: Jenny Holzer As a Parent
DESCRIPTION:As a Parent radiant blue\, 2006\nOil on linen\, 2 elements\n33 x 51 x 1.5 in. \nLocation: South Hall \nThis is an emotional plea to a U.S. Army general from the father of a soldier facing court-martial. The author asks that his son be allowed instead to resign with an honorable discharge\, citing examples of his dedication to his community\, the military\, and his country. \nThe original source document for this work can be found here. \n
URL:https://massmoca.org/event/jenny-holzer-as-a-parent/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Jenny Holzer
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2017/05/JH1098_Christian-Dad-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T110000
DTEND;TZID=America/New_York:20260501T170000
DTSTAMP:20260405T163352
CREATED:20170519T200558Z
LAST-MODIFIED:20180628T141159Z
UID:22040-1495969200-1777654800@massmoca.org
SUMMARY:Deeper Look: Jenny Holzer SECRETARY OF DEFENSE
DESCRIPTION:SECRETARY OF DEFENSE COBALT GREEN WHITE\, 2006\nOil on linen\n33 x 25.5 x 1.5 in. \nLocation: South Hall \nThis is the cover page of a Defense Department memo requesting authorization for interrogators at Guantanamo Bay\, Cuba\, to use various new methods\, including forcing prisoners to stand for prolonged periods. At the bottom of the page is the signature of former Secretary of Defense Donald Rumsfeld\, approving the request\, as well as a now-famous quip. Rumsfeld\, known for working at an elevated standing desk rather than sitting at a normal desk\, writes: “I stand for 8–10 hours a day. Why is standing limited to 4 hours?” \nThe original source document for this work can be found here. \n
URL:https://massmoca.org/event/deeper-look-jenny-holzer-secretary-of-defense/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Jenny Holzer
ATTACH;FMTTYPE=image/gif:https://massmoca.org/wp-content/uploads/2017/05/JH1006_Secretary-of-Defense-featured.gif
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T110000
DTEND;TZID=America/New_York:20260501T170000
DTSTAMP:20260405T163352
CREATED:20170519T200609Z
LAST-MODIFIED:20180628T141327Z
UID:22045-1495969200-1777654800@massmoca.org
SUMMARY:Deeper Look: Jenny Holzer Bob Marley
DESCRIPTION:Bob Marley green\, 2006\nOil on linen\, 2 elements\n33 x 51 x 1.5 in. \nLocation: South Hall \nIn March 2004\, the chief of staff of Joint Task Force Guantanamo ordered an investigation into allegations that a detainee had been abused by military police officers at the prison. The American Civil Liberties Union subsequently obtained the 71-page investigation report\, which includes this sworn statement. In it\, an MP describes a detainee engaging in small acts of resistance: refusing to wear his standard-issue flip-flops\, purposely walking through a puddle with his guards\, and singing Bob Marley’s “Redemption Song.” \nThe original source document for this work can be found here. \n
URL:https://massmoca.org/event/deeper-look-jenny-holzer-bob-marley/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Jenny Holzer
ATTACH;FMTTYPE=image/gif:https://massmoca.org/wp-content/uploads/2017/05/JH1102_Bob-Marley-featured.gif
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T110000
DTEND;TZID=America/New_York:20260501T170000
DTSTAMP:20260405T163352
CREATED:20170519T200615Z
LAST-MODIFIED:20180628T141402Z
UID:22055-1495969200-1777654800@massmoca.org
SUMMARY:Deeper Look: Jenny HolzerLeft Hand 0147-03
DESCRIPTION: Left Hand 0147-03 blue white\, 2007\nOil on linen\n102.25 x 79 x 1.5 in. \nLocation: West Gallery \nThis is the handprint of Emad Kazem Taleb\, an Iraqi civilian who died in August 2003 while in the custody of U.S. forces at Abu Ghraib. It is taken from a June 2004 report prepared by U.S. Army investigators\, who found that Taleb died a natural death as a result of heart disease. \nThe original source document for this work can be found here. \n
URL:https://massmoca.org/event/deeper-look-jenny-holzer-left-hand-0147-03/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Jenny Holzer
ATTACH;FMTTYPE=image/gif:https://massmoca.org/wp-content/uploads/2017/05/JH1298_Dead-Detainee-Wiggly-Finger-featured.gif
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T110000
DTEND;TZID=America/New_York:20260501T170000
DTSTAMP:20260405T163352
CREATED:20170519T200850Z
LAST-MODIFIED:20180628T141425Z
UID:22060-1495969200-1777654800@massmoca.org
SUMMARY:Deeper Look: Jenny Holzer Protect Protect
DESCRIPTION: Protect Protect ochre\, 2007\nOil on linen\n79 x 102.25 x 1.5 in. \nLocation: East Gallery \nIn November 2001\, President George W. Bush and Defense Secretary Donald Rumsfeld began to discuss invading Iraq and deposing Saddam Hussein. By spring 2002\, the U.S. Central Command had prepared plans for a four-phase operation\, which it presented to the White House in the form of an elaborate PowerPoint briefing. This slide maps out objectives for the initial “preparation” phase\, including the now-familiar concept of “shock and awe.” The final “post-hostilities” phase was expected to be essentially concluded by the end of 2006. \nThe original source document for this work can be found here. \n
URL:https://massmoca.org/event/deeper-look-jenny-holzer-protect-protect/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Jenny Holzer
ATTACH;FMTTYPE=image/gif:https://massmoca.org/wp-content/uploads/2017/05/Protect-Protect-ochre-featured.gif
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T110000
DTEND;TZID=America/New_York:20260501T170000
DTSTAMP:20260405T163352
CREATED:20170519T201617Z
LAST-MODIFIED:20180628T152031Z
UID:22062-1495969200-1777654800@massmoca.org
SUMMARY:Deeper Look: Jenny HolzerFINAL AUTOPSY REPORT DOD 003235-DOD 003241
DESCRIPTION:FINAL AUTOPSY REPORT DOD 003235-DOD 003241 RADIANT BLUE\, 2006\nOil on linen\, 2 elements\n66 x 25.5 x 1.5 in. \nLocation: South Hall \nIn October 2005\, the American Civil Liberties Union published a set of autopsy reports of detainees killed while in U.S. custody in Iraq and Afghanistan. The report from which these pages are taken describes the case of an Iraqi soldier who died while gagged and shackled to the top of a doorframe. The medical examiner concludes that the subject died of “blunt force injuries and asphyxia.” \nThe original source document for this work can be found here. \n
URL:https://massmoca.org/event/deeper-look-jenny-holzerfinal-autopsy-report/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Jenny Holzer
ATTACH;FMTTYPE=image/gif:https://massmoca.org/wp-content/uploads/2017/05/JH1374_Autopsy-Report-featured.gif
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T110000
DTEND;TZID=America/New_York:20260501T170000
DTSTAMP:20260405T163352
CREATED:20170519T202245Z
LAST-MODIFIED:20180628T141612Z
UID:22069-1495969200-1777654800@massmoca.org
SUMMARY:Deeper Look: Jenny HolzerWish List/Gloves Off
DESCRIPTION:Wish List/Gloves Off pewter\, 2007\nOil on linen\, 4 elements\n102.25 x 316 x 1.5 in. \nLocation: East Gallery \nBy the summer of 2003\, the insurgency in Iraq had taken a toll on coalition forces\, and U.S. Army interrogators\, many with little training or experience\, were finding reliable and actionable intelligence hard to obtain. One Army captain circulated an e-mail requesting a “wish list” of interrogation methods for dealing with unprivileged belligerents. This sparked an internal debate\, with some soldiers arguing that “enhanced” techniques were justified by the need to protect Americans\, while others insisted that ethical principles must come first. \nThe original source document for this work can be found here. \n
URL:https://massmoca.org/event/deeper-look-jenny-holzerwish-listgloves-off/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Jenny Holzer
ATTACH;FMTTYPE=image/gif:https://massmoca.org/wp-content/uploads/2017/05/JH1446_Wish-List-Gloves-Off-featured.gif
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T110000
DTEND;TZID=America/New_York:20260501T170000
DTSTAMP:20260405T163352
CREATED:20170519T203928Z
LAST-MODIFIED:20180628T141725Z
UID:22050-1495969200-1777654800@massmoca.org
SUMMARY:Deeper Look: Jenny Holzer I Was in Baghdad
DESCRIPTION:I Was in Baghdad ochre fade\, 2007\nOil on linen\, 12 elements\n33 x 306 x 1.5 in.\n83.8 x 777.2 x 3.8 cm \nLocation: South Hall \nIn this sworn statement from August 2004\, an Iraqi national and U.S. permanent resident describes his arrest\, interrogation\, and alleged abuse in Iraq in the early days of the war. He states that he approached the U.S. Army in Baghdad to offer his assistance but was instead detained and shuttled among a number of detention centers and prisons. During this time\, he says he was robbed of his money\, identification\, and medicine\, subjected to numerous beatings and constant verbal abuse\, repeatedly placed in solitary confinement\, and finally released in Egypt with serious physical and psychological injuries. \nThe original source document for this work can be found here. \n
URL:https://massmoca.org/event/deeper-look-jenny-holzer-i-was-in-baghdad/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Jenny Holzer
ATTACH;FMTTYPE=image/gif:https://massmoca.org/wp-content/uploads/2017/05/JH1258_I-Was-in-Baghdad-featured.gif
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T110000
DTEND;TZID=America/New_York:20260501T170000
DTSTAMP:20260405T163352
CREATED:20171005T191116Z
LAST-MODIFIED:20180628T151216Z
UID:23911-1495969200-1777654800@massmoca.org
SUMMARY:Deeper Look: Jenny Holzer Lustmord Table
DESCRIPTION:Two works\, each:\nLustmord Table\, 1994\nHuman bones\, engraved silver bands\, wooden table \nLocation: East Gallery \nIn 1993\, at the invitation of the Süddeutsche Zeitung Magazin\, the Sunday magazine of one of Germany’s largest daily newspapers\, Jenny Holzer created a series titled Lustmord\, prompted by the war in former Yugoslavia where sexual violence against women and girls was used as a strategy and weapon. Taking its title from a German word for “sexually motivated murder\,” Lustmord treats sexual violence in its ubiquitous manifestations. It represents these acts from the perspectives of perpetrators\, victims\, and observers. \n\nFor the magazine\, texts were hand-printed on the skin of women and men and photographed in close-up.\nLustmord also has been programmed for electronic signs. Later\, for the Lustmord Tables\, like the two on view at MASS MoCA\, the text was engraved on silver bands encircling human bones\, which were placed on worn wooden tables. \nThe bones are ethically sourced and have been obtained through legitimate suppliers of decommissioned medical samples and teaching materials\, such as articulated skeletons. \n\n
URL:https://massmoca.org/event/jenny-holzer-lustmord-table/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Jenny Holzer
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2017/10/Lustmord-featured.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T120000
DTEND;TZID=America/New_York:20260601T000000
DTSTAMP:20260405T163352
CREATED:20170503T153600Z
LAST-MODIFIED:20251201T145844Z
UID:21763-1495972800-1780272000@massmoca.org
SUMMARY:Richard Nonas Cut Back Through (for Bjorn)
DESCRIPTION:“There is a language of place\, and it is the most direct human language there is; the most basic way to impose human order and meaning on an outside\, non-human world.” — Richard Nonas\nFollowing his ambitious exhibition in Building 5\, The Man in the Empty Space\, Richard Nonas has created a long-term\, outdoor installation in granite for the museum grounds. For five decades\, he has made works that alter our sense of landscape and architecture — of place — using the simplest of means. His vocabulary includes pared-down forms and earthy and industrial materials that have a timeless\, even totemic quality. Nonas has now reimagined the southeast corner of MASS MoCA’s campus with Cut Back Through (for Bjorn)\, a new arrangement of the three large granite chairs and five granite stools first seen in MASS MoCA’s galleries. \nNonas often changes already-existing works into new combinations\, and thus new works. And like Cut Back Through (for Bjorn)\, many of his works are often arranged in pairs\, series\, or grids which create a dialogue and tension between the individual elements while creating a new whole from these parts. The grouping of granite sculptures functions as a cut into the landscape\, but they also offer museum-goers a place to rest both their bodies and minds\, allowing for — and indeed provoking — intuitive\, visceral responses. \nThe granite used to make the chairs and stools was sourced in Sweden from a quarry owned by a long-time friend of the artist (the Bjorn of the title). Nonas used the materials with great efficiency; the stools are the remnants — or offcuts — left after the chair has been excised and split from the granite block. Confusing usual distinctions between art and function\, the chairs confirm that for Nonas a compelling object is a compelling object\, without distinction. And while Nonas’ works are familiar\, they emanate powerfully and remain open and shifting — both visually as viewers walk around and through them and in meaning and association — balancing on the edge of one thing becoming another. \nGranite chairs and stools at the quarry\nphoto by Richard Nonas \n
URL:https://massmoca.org/event/richard-nonas-cut-back-through-for-bjorn/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Art,Exhibition,Ongoing Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2017/05/Richard-Nonas-chairs-featured3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170902T000000
DTEND;TZID=America/New_York:20201019T000000
DTSTAMP:20260405T163352
CREATED:20171004T204711Z
LAST-MODIFIED:20201019T151719Z
UID:23580-1504310400-1603065600@massmoca.org
SUMMARY:Anish Kapoor
DESCRIPTION:Anish Kapoor is known for creating sculptures with extraordinary surfaces that pull viewers in\, encouraging close looking. Varying widely in scale and incorporating materials from stone and earth to silicone and PVC\, his work combines formal precision with innovative engineering and a precise use of optics and reflectivity.\nIn Untitled (2012)\, part of a larger group of mirrored works by the artist\, Kapoor uses highly polished stainless steel on an enormous scale\, distorting and transforming reflections of the work’s surroundings. Kapoor has characterized his mirrored surfaces as dynamic objects\, observing that “they seem to be active\, to be in various states of becoming.” \nThe reflective\, concave surface of Untitled seems to absorb us into its space. From some vantage points\, the work confronts us with a displaced\, splintered vision of ourselves\, while other focal points eliminate the viewer’s reflection entirely. The round\, concave shape also creates peculiar sonic effects\, amplifying and altering the observer’s perception of the sounds in the gallery space\, similar to the way that a curved mirror inside a telescope focuses rays of light. \nKapoor’s interest in the relationship between light and the viewer’s perception is shared by James Turrell\, whose long-term installations are also on view in the museum’s Robert W. Wilson Building 6. While Turrell tightly controls the light in his installations\, however — as well as the mode by which it enters – the mirrored surface of Kapoor’s Untitled engages the building’s existing architecture and abundance of natural light. Intervening in our perception of the space\, Untitled turns it unfamiliar and strange. \nUntitled\, 2012\nStainless steel\nPrivate collection\, courtesy of McCabe Fine Art\, Sweden \n
URL:https://massmoca.org/event/anish-kapoor/
LOCATION:MA
CATEGORIES:Archive Exhibitions,Art,Building 6,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2017/09/Anish-Kapoor-featured.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171117T080000
DTEND;TZID=America/New_York:20230101T170000
DTSTAMP:20260405T163352
CREATED:20201101T201802Z
LAST-MODIFIED:20201214T193309Z
UID:38931-1510905600-1672592400@massmoca.org
SUMMARY:Adult Education
DESCRIPTION:
URL:https://massmoca.org/event/a_d_u_l_t_e_d_u_c_a_t_i_o_n/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Education
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171127T110000
DTEND;TZID=America/New_York:20261101T170000
DTSTAMP:20260405T163352
CREATED:20171127T203337Z
LAST-MODIFIED:20200623T141026Z
UID:25675-1511780400-1793552400@massmoca.org
SUMMARY:Artist Talks + Events
DESCRIPTION:
URL:https://massmoca.org/event/a_r_t_i_s_t-t_a_l_k_s/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2017/08/featuredfullRS76290_posing-Pupil-1997-hpr-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171127T110000
DTEND;TZID=America/New_York:20261101T170000
DTSTAMP:20260405T163352
CREATED:20171127T205048Z
LAST-MODIFIED:20171127T205147Z
UID:25698-1511780400-1793552400@massmoca.org
SUMMARY:Kidspace
DESCRIPTION:
URL:https://massmoca.org/event/k_i_d_s_p_a_c_e/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Education
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/11/About-Kidspace-featured-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171127T110000
DTEND;TZID=America/New_York:20261101T170000
DTSTAMP:20260405T163352
CREATED:20171127T205929Z
LAST-MODIFIED:20210216T194740Z
UID:25711-1511780400-1793552400@massmoca.org
SUMMARY:Schools & Educators
DESCRIPTION:
URL:https://massmoca.org/event/s_c_h_o_o_l_s/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Education
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2016/02/GuidedTour-detail-full-width.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171127T110000
DTEND;TZID=America/New_York:20261101T170000
DTSTAMP:20260405T163352
CREATED:20171127T210433Z
LAST-MODIFIED:20210211T155859Z
UID:25720-1511780400-1793552400@massmoca.org
SUMMARY:Families & Community
DESCRIPTION:
URL:https://massmoca.org/event/f_a_m_i_l_i_e_s/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Education
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/11/ArtNinjas2-detail-full-width.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180102T080000
DTEND;TZID=America/New_York:20260101T170000
DTSTAMP:20260405T163352
CREATED:20180102T220458Z
LAST-MODIFIED:20180103T152549Z
UID:27617-1514880000-1767286800@massmoca.org
SUMMARY:Past Artist Events
DESCRIPTION:
URL:https://massmoca.org/event/p_a_s_t_a_r_t_i_s_t_e_v_e_n_t_s/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Artist Events
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/detail-page-half-width-nick-cave.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180102T110000
DTEND;TZID=America/New_York:20260101T170000
DTSTAMP:20260405T163352
CREATED:20180102T215643Z
LAST-MODIFIED:20180102T220843Z
UID:27613-1514890800-1767286800@massmoca.org
SUMMARY:Past Kidspace Exhibitions
DESCRIPTION:
URL:https://massmoca.org/event/p_a_s_t_k_i_d_s_p_a_c_e_e_x_h_i_b_i_t_i_o_n_s/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Education
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2016/04/here-comes-the-sun-detail-half.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180113T110000
DTEND;TZID=America/New_York:20191208T170000
DTSTAMP:20260405T163352
CREATED:20171120T192109Z
LAST-MODIFIED:20191217T170218Z
UID:25618-1515841200-1575824400@massmoca.org
SUMMARY:Natasha Bowdoin Maneater
DESCRIPTION:Houston\, TX-based artist Natasha Bowdoin builds wall-works with words. In her largest-ever cut paper and collage installation\, she investigates the intersections of the visual\, the experiential\, and the literary\, treating language and nature as kindred phenomena. Referencing such sources as Golden Age children’s book illustrations\, 19th-century botanical drawings\, floral textile patterns\, lunar maps\, and prints of underwater sea life\, Bowdoin’s fragile\, lush installations shift and change as viewers explore their surfaces.\n\njQuery(document).ready(function(){ jQuery("#amw_galleria_slideshow_9").galleria({"dataSource":[{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2017\/11\/RS104980_Bowdoin_Maneater_1-23-18-7-lpr-2-878x585.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2017\/11\/RS104980_Bowdoin_Maneater_1-23-18-7-lpr-2-878x585.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2017\/11\/RS104980_Bowdoin_Maneater_1-23-18-7-lpr-2-780x520.jpg"\,"title":"Natasha Bowdoin Maneater"\,"description":"Natasha Bowdoin\nManeater\, 2017-18\nGouache\, acrylic\, and ink on cut paper"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2017\/11\/RS105003_Bowdoin_Maneater_1-23-18-15-lpr-878x585.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2017\/11\/RS105003_Bowdoin_Maneater_1-23-18-15-lpr-878x585.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2017\/11\/RS105003_Bowdoin_Maneater_1-23-18-15-lpr-780x520.jpg"\,"title":"Natasha Bowdoin"\,"description":"Natasha Bowdoin\nManeater\, 2017-18\nGouache\, acrylic\, and ink on cut paper"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2017\/11\/RS104112_Jan17_2018_Maneater_NatashaBowdoin-1-of-1-lpr-878x585.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2017\/11\/RS104112_Jan17_2018_Maneater_NatashaBowdoin-1-of-1-lpr-878x585.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2017\/11\/RS104112_Jan17_2018_Maneater_NatashaBowdoin-1-of-1-lpr-780x520.jpg"\,"title":"Natasha Bowdoin"\,"description":"Natasha Bowdoin\nManeater\, 2017-18\nGouache\, acrylic\, and ink on cut paper"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2017\/11\/RS104987_Bowdoin_Maneater_1-23-18-3-lpr-878x690.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2017\/11\/RS104987_Bowdoin_Maneater_1-23-18-3-lpr-878x690.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2017\/11\/RS104987_Bowdoin_Maneater_1-23-18-3-lpr-780x613.jpg"\,"title":"Natasha Bowdoin Maneater"\,"description":"Natasha Bowdoin\nManeater\, 2017-18\nGouache\, acrylic\, and ink on cut paper"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2017\/11\/RS104117_Jan17_2018_Maneater_NatashaBowdoin-5-of-9-lpr-1-878x585.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2017\/11\/RS104117_Jan17_2018_Maneater_NatashaBowdoin-5-of-9-lpr-1-878x585.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2017\/11\/RS104117_Jan17_2018_Maneater_NatashaBowdoin-5-of-9-lpr-1-780x520.jpg"\,"title":"Natasha Bowdoin"\,"description":"Natasha Bowdoin\nManeater\, 2017-18\nGouache\, acrylic\, and ink on cut paper"}]\,"width":"auto"\,"height":0.76\,"autoplay":false\,"transition":"slide"\,"initialTransition":"fade"\,"transitionSpeed":0\,"_delayTime":4000\,"_hideControls":false\,"_thumbnailMode":"grid"\,"_captionMode":"on_expand"}); });\nBowdoin’s affinity for the wilderness began at a young age\, as she wandered the woods and waters of Maine. This wasn’t solely a physical act; she also used books to understand the landscape around her and to escape to unavailable landscapes. Primed with an empirical and a fictional experience of nature\, filled with wonder and terror\, Bowdoin’s work flickers between unsentimental Darwinism and embroidered reverie. Her journeys into the dark woods hark to a time when fairy tales and scientific illustrations were equally plausible explanations of nature’s mysteries: where Ernst Haeckel\, Lewis Carroll\, or the Brothers Grimm might all make suitable traveling companions. \nFor MASS MoCA’s first-floor Hunter Hallway\, Bowdoin’s ambitious Maneater grows to consume the space like a fruiting vine or an invasive species. As in all her work\, the installation draws from many references\, here ranging from pop culture ideas of nature and femininity to arcane literary traditions. The title of the installation conjures the Hall & Oates’ Maneater (1982)\, a cautionary tale about a wild woman who will seduce you\, then “chew you up.” Equally applicable is Neko Case’s People Got a Lotta Nerve (2009)\, which chides humans for underestimating nature — cuddly until the moment it\, too\, bites you back. Bowdoin is also interested in the 19th-century literary genre called “the language of flowers\,” which used botanical arrangements as encrypted messages\, a specific meaning assigned to each flower. These threads evoke a world in which language and nature are intertwined and potentially out to get us if we aren’t careful. \nIn the lush paper thicket coiling its way down the Hunter Hallway\, we see larger-than-life floral forms whose tranquility is undercut by carnivorous plants creeping and crawling across the gallery wall and floor. Subverting the traditional meanings ascribed to flowers — beauty\, sentiment\, delicacy\, and femininity — Bowdoin gives the flowers back their thorns\, reintroducing wildness and an unstoppable proliferation; her garden is overgrown\, possibly toxic\, but still seductive in its danger. Bowdoin gives nature its teeth back\, and the flower — beautiful but a little too abundant — becomes a feminist gesture of fight and resistance. In her interlaced references and layered forms\, Bowdoin leads us into the dense\, more savage precincts of the natural world\, where our place in the food chain is less secure: a terrain of tooth and claw\, thorn and root. \nNatasha Bowdoin (b. 1981\, West Kennebunk\, ME) earned an MFA from Tyler School of Art and a BA from Brandeis University in painting and classics. She has been awarded residencies at the Core Program in Houston\, Texas; the Roswell Artist-in-Residence program in New Mexico; and the Bemis Center for Contemporary Art in Omaha\, Nebraska. Bowdoin’s work has been included in exhibitions across the United States and throughout Europe\, including solo exhibitions at the Visual Arts Center of Richmond\, VA; Talley Dunn Gallery\, Dallas\, TX; Savannah College of Art and Design Museum\, GA; and Monya Rowe Gallery\, New York\, NY; and group exhibitions at Artpace\, San Antonio\, TX; The Portland Museum of Art\, ME; the Southeastern Center for Contemporary Art\, Winston-Salem\, NC; the CODA Museum\, Apeldoorn\, the Netherlands; and the Cue Art Foundation\, New York\, NY. Her work has been reviewed in publications including Artforum\, BOMB\, and Wallpaper* Magazine. Bowdoin lives and works in Houston\, TX. \nA Members Opening Reception was held on Saturday\, March 24\, 2018 at 5:30pm. \nMajor exhibition support is provided by the Horace W. Goldsmith Foundation\, the Barr Foundation\, and the Mass Cultural Council. \nNatasha Bowdoin\, Spring Study\, 2017\nGouache and ink on cut paper\nImage courtesy of the artist \n \n
URL:https://massmoca.org/event/natasha-bowdoin-maneater/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Archive Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2017/11/Natasha-Bowdoin-Maneater-featured-new.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180119T080000
DTEND;TZID=America/New_York:20361101T170000
DTSTAMP:20260405T163352
CREATED:20180125T163559Z
LAST-MODIFIED:20231004T161214Z
UID:27792-1516348800-2109171600@massmoca.org
SUMMARY:Public Tours
DESCRIPTION:Museum educator-guided public tours are one-hour highlight tours of the museum that focus on 3–5 exhibitions. All of MASS MoCA’s tours are conversation and inquiry-based\, encouraging participation while also providing important content and context about the art on display. \nRegular admission rates apply. \n\n\n\n\nWEEKDAYS\n1pm\n\n\nWEEKENDS\n11am & 1pm\n\n\n\n\n
URL:https://massmoca.org/event/public-tours/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Education
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2018/01/22_WSP_Webcuts_PublicTours_3840x1920-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180719T080000
DTEND;TZID=America/New_York:20370719T170000
DTSTAMP:20260405T163352
CREATED:20180719T191502Z
LAST-MODIFIED:20180803T172556Z
UID:30095-1531987200-2131635600@massmoca.org
SUMMARY:Support Arts Education
DESCRIPTION:
URL:https://massmoca.org/event/support-arts-education/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Education
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2018/07/Featured_FULL.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180831T080000
DTEND;TZID=America/New_York:20200819T170000
DTSTAMP:20260405T163352
CREATED:20180731T191220Z
LAST-MODIFIED:20201013T125322Z
UID:30169-1535702400-1597856400@massmoca.org
SUMMARY:Titus Kaphar Language of the Forgotten
DESCRIPTION:The artist Titus Kaphar is first and foremost interested in history – and in particular whose stories get told\, and which ones get left out. Through cutting\, bending\, sculpting\, and remixing historic paintings and sculptures\, Kaphar often shifts the focus of the narratives to create new works that exist between fiction and quotation.\nIn 2017\, Kaphar was commissioned by Princeton University to create a new sculpture\, Impressions of Liberty\, which discusses the University’s own history of enslaved people. On July 31\, 1766\, six enslaved African Americans were sold on the site where the sculpture now sits. They were part of the estate of Samuel Finley (1715–1766)\, the fifth president of Princeton (then the College of New Jersey). Kaphar’s work begins as a monumental bust of Finley carved as an inversion into wood. Framed against this are portraits of an African-American man\, woman\, and child “etched” into glass. The Princeton website states that\, “Whereas the form for Finley’s bust is drawn from his official University portraits\, contemporary actors in eighteenth-century costume stand in for the enslaved individuals\, for whom no images remain.” \nUsing this same technique\, Kaphar has created Language of the Forgotten. Just as in Impressions of Liberty\, he starts with a Caucasian historical figure — here Thomas Jefferson. His profile is immediately recognizable\, whereas the figures “etched” on the glass stand in for the hundreds of thousands of untold narratives about usurped liberty — most famously brought to light in Jefferson’s case through the story of Sally Hemings\, an enslaved woman on Jefferson’s plantation believed to be the mother of his children. In both works\, Kaphar delicately alters the narrative\, placing forgotten figures who are in plain line of sight. \nThis sculpture relates to additional works by Kaphar that will be on view in the group exhibition Suffering from Realness\, opening April 2019. \nFor Language of the Forgotten\, Kaphar commissioned poet Reginald Dwayne Betts to write the new poem below: \nBenevolence\nby Reginald Dwayne Betts \nA woman disappears behind the face\nof a man. Negro child\, girl child\, Black child\, \nwhat is the language for forgotten? Hidden \nbehind a veil of declared independence.\nNot a single signature would have confessed \nher name in public. The lesson of owning\nbegins with erasure. Who confuses a woman \nfor property. (Many men\, many many many many men.)\nNot someone else. Mister & Master. Not mistress —\nbut eclipse. Blacker \nthan cotton falling into the shade of a sack longer\nthan her frail body. How do you say child \nin the language of a whip post?\nBehind him\, the sound of a woman effaced.\nThe office of expunction: \nman & ownership & the collateral of it all\, a body\nsprawled against its own vanquishing. \nAlways half the tale. What wasn’t lost\nin the chronicle? Hosannas. All men created\nwith a backdrop of a woman forced \ninto an awkward submission? Lascivious becomes\nsomething mutual. Negro girl slave girl slave girl \nas lover black girl as lover black woman as lover\npermission as lost continent. \nThe conundrum is unmasked by a knife\nagainst the canvas. Behind the man \na woman shackled to what the ghost rib?\nOnly men believe in women as asterisk. \nImagine being remembered this way. Imagine resurrection\nas being unmasked\,\nimagine benevolence as being seen. \nAbout the artist\nTitus Kaphar’s works interact with art history by appropriating its styles and mediums. He cuts\, bends\, sculpts\, and mixes historic painting\, creating new works between fiction and historic sampling. His work has been included in exhibitions at Jack Shainman Gallery\, New York\, NY; the Studio Museum in Harlem\, NY; and the Seattle Art Museum\, WA. His art is also in the collections of the Museum of Modern Art\, New York\, NY. In 2014\, Time magazine commissioned Kaphar to create an artwork in response to the protests in Ferguson\, MO. He lives and works in New Haven\, CT. \nFurther Reading\nAt MASS MoCA\, artist Titus Kaphar leads us back from the abyss\, The Boston Globe \nTITUS KAPHAR\nLanguage of the Forgotten\, 2018\nCharred white oak\, high-density urethane\, glass and LED lights\nCourtesy of the artist \n
URL:https://massmoca.org/event/titus-kaphar/
LOCATION:B6: The Robert W. Wilson Building
CATEGORIES:Archive Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2018/07/TitusKaphar_featured.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180927T080000
DTEND;TZID=America/New_York:20250927T170000
DTSTAMP:20260405T163352
CREATED:20180927T140106Z
LAST-MODIFIED:20250321T194754Z
UID:30872-1538035200-1758992400@massmoca.org
SUMMARY:Klaas Hübner and Andrew Schrock Corrugarou 
DESCRIPTION:Seen from a distance\, Klaas Hübner and Andrew Schrock’s Corrugarou at first resembles a slightly surreal guard tower\, its perforated metal sides slashed by large fan blades. Upon entering the structure\, however\, visitors find themselves within a two-story playable musical instrument. By turning the cranks in the structure’s base\, visitors can set the fans in motion. Changing the speed at which the cranks are turned alters the pitch and volume of the harmonic tones that the instrument produces\, as wind hums through the ridged tubes attached to the fans’ blades.\nHübner and Schrock met through New Orleans Airlift\, an artist-driven initiative founded in the wake of Hurricane Katrina in 2008. Airlift encourages collaboration between international and local artists and the community\, often pairing artists and encouraging them to generate new public work. Airlift introduced Hübner and Schrock—who had both previously created work that involved fans—for Music Box (2011 – 2012)\, an installation of playable public art projects which allowed visitors and performers  to experiment with musical composition in an entirely new way. \nThe musical architecture projects begun with Music Box have since spread around the globe\,from Atlanta\, Georgia\, to Kiev\, Ukraine. Corrugarou is one of three such projects planned for North Adams\, the other two of which will be located at TOURISTS on Route 2. For Corrugarou\, Hübner and Schrock collaborated with Morrison Berkshire in North Adams before transporting it downtown and assembling it on-site. The structure—fashioned from discarded materials and industrial hardware—is a communal space for sonic exploration and play\, where visitors are invited to create their own sonic improvisations. \nLocated at Tourists\n915 State Road\, North Adams\, MA \nKlaas Hübner and Andrew Schrock for Music Box\, a project of New Orleans Airlift\nCorrugarou\, 2017\nPhoto: Jason Reinhold \nPresented by TOURISTS | touristswelcome.com. North Adams Exchange programming was made possible by support from the Barr Foundation\, The Educational Foundation of America\, Bloomberg Philanthropies\, and The Robert W. Wilson Charitable Trust\, with in-kind support from Karen Brooks Hopkins. \n
URL:https://massmoca.org/event/klaas-hubner-andrew-schrock/
LOCATION:Tourists\, MA\, United States
CATEGORIES:Archive Exhibitions,Exhibition,Sound Art
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2018/09/schrock_hubner98039_square_feature.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181010T110000
DTEND;TZID=America/New_York:20270918T170000
DTSTAMP:20260405T163352
CREATED:20181010T152744Z
LAST-MODIFIED:20250930T194705Z
UID:31004-1539169200-1821286800@massmoca.org
SUMMARY:Nicholas Whitman
DESCRIPTION:Photographer Nicholas Whitman began photographing North Adams’ abandoned Sprague Electric Company factory in 1988 “because it would surely be razed.” Documenting the then-deteriorating 19th-century mill buildings\, Whitman captured scenes ranging from vast postindustrial landscapes to minute traces of the plant’s former workers. Whitman’s meticulously composed photographs\, windows onto the historic nature of MASS MoCA’s celebrated renovated factory campus\, are now on view in the museum.\nPreserving the “seemingly random collection of mill buildings” was a deeply personal mission. Whitman’s father came to work at Sprague as an engineer in 1959. Growing up\, Whitman remembers that the site’s security was so tight\, he was unable to visit his father at work until he was hired for a summer job etching aluminum foil in 1974. The company’s etching operations moved to the South not long after\, marking the early phases of cost-cutting and outsourcing that ultimately led Sprague to close its operations on Marshall Street in 1985. \nBy the time Whitman began to photograph the site’s century-old buildings in 1988\, they had begun to decline: floors buckled\, paint peeled\, and pigeons and spiders had made the quiet buildings their home. Whitman says\, “I worked with a 4″× 5″ field camera and carried everything in order to be self-contained and mobile. The buildings are mostly interconnected\, so once you were inside you could go anywhere. Many areas were quite dark\, which made photography difficult because I only worked with the available light. The light is part of the place\, and the place was what I was documenting.” \nMore personal hints of the factory’s industrial past — thousands of workers over more than a hundred years — remained. “Most compelling was evidence of the individuals who had spent so much of their lives within these walls\,” Whitman notes. “It manifested itself in different and sometimes unexpected ways. There were discarded identification badges and personal effects\, like coffee cups and well-worn chairs. There were scrawls on walls\, numbers near the phone\, and handwritten conversions from minutes to tenths of an hour on the wall near the punch clocks. The humanity of these industrial spaces is revealed in such details.” \nAbout the Artist:\nNicholas Whitman is a photographer based in Berkshire County. He studied at the Rochester Institute of Technology\, and is the former Curator of Photography at the New Bedford Whaling Museum. He has been commissioned to create photographs by institutions including the New Bedford Whaling Museum\, Bennington Museum\, Berkshire Museum\, The Colonial Theatre\, Chesterwood\, Olana\, Sterling and Francine Clark Art Institute\, Williams College Museum of Art\, and Williams College\, where he taught a landscape photography course each winter for two decades. Whitman’s photography is the subject of books including “The Colonial Theatre: A Pittsfield Resurrection” (2008); “After SPRAGUE ELECTRIC / Before MASS MoCA” (2013); “Sea\, Shore\, Sky & Ice” (2013); and “Wheels of Progress: The New Bedford Waterfront\, circa 1980” (2015). His photographs can also be found in MASS MoCA: From Mill to Museum\, a revised edition that is now available for purchase. \n  \nNicholas Whitman\nMain Gate\nCourtesy of the artist \n
URL:https://massmoca.org/event/nicholas-whitman/
LOCATION:B6: The Robert W. Wilson Building
CATEGORIES:Building 6,Current Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2018/10/NicholasWhitman113162_Feature.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20181110
DTEND;VALUE=DATE:20221111
DTSTAMP:20260405T163352
CREATED:20181009T213230Z
LAST-MODIFIED:20231128T144224Z
UID:30978-1541808000-1668124799@massmoca.org
SUMMARY:Jarvis Rockwell  Us
DESCRIPTION:Jarvis Rockwell’s collection will “walk” over to nearby Hotel Downstreet to be displayed soon; more information to come. \nArtist Jarvis Rockwell’s massive 2002 installation Maya introduced MASS MoCA visitors to Rockwell\, whose detailed wall-drawing continues to delight museum-goers and concert audiences just outside of the museum’s Club B-10. Rockwell returns to MASS MoCA with a new large-scale installation\, Us. In Us\, figures from Rockwell’s massive collection of toys and figurines interact and organize themselves on glass panels\, soaring over visitors’ heads in the historic light well of the newly renovated B6: Robert W. Wilson Building.\nRockwell began assembling his ever-expanding collection of toys and figurines in 1979. Numbering in the hundreds of thousands\, his toys run the gamut from classic action figures to Japanese monsters\, bobble-head dolls of politicians and artists\, Yodas\, Betty Boops\, Troll dolls\, Pez dispensers\, Tin Tins\, toy soldiers\, and endless amounts of plastic furniture (“for the occasional elderly toy to sit on”). In his thoughtful arrangements\, groups of figures gather as though in conversation with one another\, approaching and drifting apart in a bewildering array of organic interactions. In his 1985 exhibition Toys at the New Museum\, NY\, eight identical figures wearing suits and panama hats anxiously adjusted their ties in unison\, a coiffed doll with bright blue eyeshadow enthusiastically greeted an approaching Viking\, and James Brown relaxed\, feet up\, on a blue ottoman. \nAs the exhibition’s title suggests\, for Rockwell these figures stand in as avatars for ourselves — “alternatives to us whom we can interact with” — which act out the fantasies\, beliefs\, and values that shape our understanding of the world. In his own words\, “We build what we are\, what we think\, and what we live.” Rockwell uses the term Maya\, adopted from Hindu Sanskrit\, to understand the way we attach illusions to the visible world. On a notecard that he carries in his wallet\, Rockwell defines the term in relation to his practice as: \n“The power of a god or demon to transform a concept into an element of the sensible world; the transitory manifold appearance of the sensible world\, which obscures the undifferentiated spiritual reality from which it originates; the illusory appearance of the sensible world.” \nThe stepped structure of Us also points to Rockwell’s fascination with the spiritual realm. Spanning the length of the light well\, ten glass planks hang from the ceiling in an ascending\, curving line. The upward motion of the floating glass shelves conjures a feeling of ascension\, and perhaps even reincarnation. As Rockwell sees it\, “[The toys] are going on to glory.” Imbued with a physical and spiritual depth\, Rockwell’s figures evoke a multiplicity of narratives that are at once whimsical and distressing\, capturing the complexities and outlandishness of our own existence. \nRockwell approaches each installation of toys organically\, responding to both the site and the needs of the various toys. Though most of the figures “socialize” in groups\, the artist explains\, “There’s always the lonely person that doesn’t talk well with other people\, and he’ll be walking by himself.” By listening seriously to the stories that toys have to tell\, Rockwell is able to create worlds that feel at once monumental and microscopic in scope\, playing out both the quotidian and epic dramas of our lives. \nProgramming at MASS MoCA is made possible in part by the Barr Foundation\, Horace W. Goldsmith Foundation\, and Mass Cultural Council. \n  \nToys from Jarvis Rockwell’s Collection\nCourtesy of the artist\nPhoto: Monika Sosnowski \n
URL:https://massmoca.org/event/jarvis-rockwell-us/
LOCATION:B6: The Robert W. Wilson Building
CATEGORIES:Archive Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2018/10/Jarvis_Rockwell-Featured_2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190101T110000
DTEND;TZID=America/New_York:20210406T170000
DTSTAMP:20260405T163352
CREATED:20181010T153050Z
LAST-MODIFIED:20210413T215148Z
UID:31007-1546340400-1617728400@massmoca.org
SUMMARY:Tom Slaughter Icon Alphabet
DESCRIPTION:Covering an interior wall visible to visitors approaching MASS MoCA’s postindustrial museum lobby (as well as to those in its galleries)\, Tom Slaughter’s joyful imagery unfurls across a 140 ft. stretch in the first-ever exhibition designed by his daughters Hannah and Nell Jocelyn and son-in-law Jim Mezei. The expansive Icon Alphabet celebrates Slaughter’s lifetime creating bright\, playful imagery drawn from his paintings\, prints\, wallpaper\, and billboards. This is the first exhibition focusing on Slaughter’s bold personal visual vocabulary since his death in 2014.\nTom Slaughter’s drawings\, paintings\, and cut-paper illustrations present objects and scenes from the artist’s life in New York and coastal Long Island. For Slaughter\, the very familiarity of these images made them ideal subjects: “Icons…. these are my alphabet. I draw them over and over until they are part of my language. Sunglasses\, bikes\, hats\, boats\, buildings…they are all just part of an excuse to make images.” Icon Alphabet will combine Slaughter’s work as an artist and illustrator across media — “I paint\, draw\, cut paper\, use a computer\, and even an iPhone — it’s all the same hand.” \nSlaughter’s images are quintessentially modern\, their subjects rendered with deft vividness and graphic punch. The simplicity of Slaughter’s forms and the artist’s use of primary colors suggest ties to Henri Matisse’s cut-outs\, or Alexander Calder’s mobiles. He once quipped: “I use primary colors\, mostly because I never did take a painting class. The colors worked well enough for Calder and Lichtenstein.” Calder saw his abstract mobiles as “sketches” for “a system of the Universe\, or part thereof\,” and believed that “Secondary colors and intermediate shades serve only to confuse and muddle the distinctness and clarity.” This clarity likewise characterizes a modernist approach to architecture and design\, which rejected excessive ornamentation in favor of a unified\, streamlined whole. Slaughter’s own work pares down each “icon” to its most essential characteristics\, making the visual language of modernist design accessible to young people and adults alike through his prints\, posters\, children’s book illustrations\, and even wallpaper designs. \nAbout the artist\nAcclaimed for his playful prints\, paintings\, and designs\, Tom Slaughter (1955 – 2014) illustrated 11 children’s books including Boat Works and Do You Know Which Ones will Grow? which was named a 2011 Notable American Library Association book of the year. He worked as a printmaker in collaboration with Durham Press for 25 years. His editions are included in the collections of MoMA and the Whitney Museum of American Art. His work has been the subject of over 30 solo exhibitions in New York\, Los Angeles\, Miami\, Vancouver\, Germany\, and Japan. \nMajor exhibition support is provided by the Horace W. Goldsmith Foundation\, the Barr Foundation\, and the Mass Cultural Council. \nTom Slaughter\, Untitled (Blue windows)\, 1989\nFlashe paint on canvas\nCourtesy of Hannah and Nell Jocelyn \n
URL:https://massmoca.org/event/tom-slaughter/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Archive Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2018/10/Slaughter_feature_square.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190119T080000
DTEND;TZID=America/New_York:20200102T170000
DTSTAMP:20260405T163352
CREATED:20181109T170233Z
LAST-MODIFIED:20201013T125251Z
UID:31376-1547884800-1577984400@massmoca.org
SUMMARY:Rafa Esparza staring at the sun
DESCRIPTION:Rafa Esparza first used the labor-intensive process of hand-making adobe bricks in 2014. Extending the skill he learned from his father — who made adobe bricks in Mexico to sell and to build his first home — Los Angeles-based Esparza hand-made approximately 1\,400 adobe bricks to cover the surface of Michael Parker’s sculpture\, The Unfinished. Through this project the artist examined his relationship to land\, the Los Angeles River\, and his family with whom he collaborated. staring at the sun is a solo exhibition in which Esparza will continue this investigation by creating a new space out of adobe\, while also returning to his practice as a painter. On view beginning January 19\, with the artist on-site from 4-6pm that day\, the exhibition confronts the architecture of the museum\, “browning” its typical white walls.\n\nTraditionally made by hand with dirt and other organic material such as clay\, horse dung\, hay\, and water\, adobe is among the earliest of human building materials. Due to their remarkable strength\, sundried structures were extremely durable and functioned as some of the earliest architectural foundations for indigenous communities across the Americas. Adobe construction is still prevalent across the Southwest\, a source of both strong and readily available building materials and income for the skilled laborers who use it. \nEsparza explores adobe as both material and politics\, creating what he has termed “brown architecture:” “My interest in browning the white cube — by building with adobe bricks\, making brown bodies present — is a response to entering traditional art spaces and not seeing myself reflected. This has been the case not just physically\, in terms of the whiteness of those spaces\, but also in terms of the histories of art they uphold” (“Rafa Esparza\,” ArtForum\, November 21\, 2017). \nWithin art institutions\, Esparza creates adobe spaces that also function as platforms for collaboration for many constituencies and communities\, including queer brown artists. \nBest known as a performance artist\, Esparza began his career in visual arts as a painter\, yet was unable to relate to the “old master” paintings and drawings that he studied as an undergraduate. He turned instead to performance\, making art with his body among the landscapes of Los Angeles. staring at the sun allows Esparza to design a brown space and to simultaneously engage\, create images\, and build narratives intrinsic to his use of land — brown matter — as context\, surface\, and content. This exhibition will include a series of new paintings on the surface of adobe\, which will include portraiture\, landscape\, and abstraction. Adobe will cover the pristine white walls of one of MASS MoCA’s few “white cube” gallery spaces\, serving as a threshold into an earthly dwelling. Entering the gallery\, visitors will be immersed in dirt. Notes Esparza\, “I want to overwhelm you with earth.” \nAbout the Artist\nRafa Esparza is a multidisciplinary artist who was born\, raised\, and currently lives in Los Angeles. Woven into Esparza’s bodies of work are his interests in history\, personal narratives\, and kinship. He is inspired by his own relationship to colonization and the disrupted genealogies that it produces. Using live performance as his main form of inquiry\, Esparza employs site-specificity\, materiality\, memory\, and what he calls (non)documentation as primary tools to investigate and expose ideologies\, power structures\, and binary forms of identity that establish narratives\, history\, and social environments. Esparza’s recent projects have evolved through experimental collaborative projects grounded in laboring with land vis-à-vis adobe brick-making\, a skill learned from his father\, Ramón Esparza. In so doing\, the artist intends to divert institutional resources to invited Brown and Queer cultural producers to realize large-scale collective projects. In the process\, he gathers people together to build networks of support outside of traditional art spaces. He is especially committed to working in the local geographies that are the Southwest\, including Mexico and Latin America. \nEsparza is a recipient of an Emerging Artist 2014 California Community Foundation Fellowship for Visual Arts\, a 2014 Art Matters grantee\, and a 2015 recipient of a Rema Hort Mann Foundation Emerging Artist Grant. He has performed in a variety of spaces\, both public and private\, throughout Los Angeles\, including Elysian Park\, the Los Angeles River\, AIDS Project Los Angeles\, Highways Performance Space\, REDCAT\, Human Resources\, Vincent Price Art Museum\, LACE (Los Angeles Contemporary Exhibitions)\, and the J. Paul Getty Museum. Esparza has also shown throughout the United States in art institutions such as the Whitney Museum of American Art\, the Bemis Center for Contemporary Art\, and Ballroom Marfa\, and internationally at Oficina de Procesos\, Mexicali\, and El Museo del Chopo in CDMX. Esparza was part of the 2018 spring cohort at the renowned Artpace artist-in-residence program in San Antonio\, Texas\, and recently led a guerrilla processional performance with over 25 artists through the historic fashion thoroughfare market The Santee Alley as part of his project\, de la Calle (of the Street)\, in collaboration with the Institute of Contemporary Art\, Los Angeles. \n\n \nYou can download a PDF of the exhibition guide here. \n\n \nPuedes descargar un PDF de la guía de la exposición aquí. \nFurther Reading\nAt MASS MoCA\, crumbling with purpose\, The Boston Globe \n  \nstaring at the sun is made possible by the Sterling and Francine Clark Art Institute in support of MASS MoCA and the Williams College Graduate Program in the History of Art. The exhibition is curated by Marco Antonio Flores\, a graduate student studying American and Latin American modern and contemporary art at the Williams College Graduate Program. \nThank you to Hancock Shaker Village for the donation of materials for the exhibition \nRafa Esparza\nDetail of New American Landscapes. Self Portrait: Catching Feelings (Ecstatic)\, 2017 \n
URL:https://massmoca.org/event/rafa-esparza/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Archive Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2018/11/Rafa_Esparaza_Feature_Half.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190309T080000
DTEND;TZID=America/New_York:20191103T170000
DTSTAMP:20260405T163352
CREATED:20180222T194245Z
LAST-MODIFIED:20201013T125652Z
UID:28091-1552118400-1572800400@massmoca.org
SUMMARY:Trenton Doyle Hancock Mind of the Mound: Critical Mass
DESCRIPTION:“About 50\,000 years ago an ape man named Homerbuctas masturbated in a field of prehistoric flowers giving birth to a legend\, no\, “The” Legend. For years\, there have been reports of large\, furry\, smelly heaps residing in wooded areas around the world. These reports are supposed sightings of the cryptid (creature not yet verified by science)\, simply known to cryptozoologists as Mounds. \nI am\, for reasons that I can’t quite explain\, connected to these mysterious Mound creatures. I share a psychic bond with each Mound. I am ground control\, and they are my satellites. I remember things that they have done\, and I recall things that they have seen even after they are dead. I am able to inhabit the reality of the Mounds. Therefore\, it has become my duty to document the goings-on in their realm\, an alternate space that exists in hidden Earthly pockets. I have come to know these spatial accumulations as The Moundverse. The first Mound I learned of was in 1997\, at which time I began chronicling his life. This Mound was called Mound #1\, The Legend. In the year 2000\, I began telling the tale of this Mound’s demise at the hands of Vegan rebels.” – Trenton Doyle Hancock \nTrenton Doyle Hancock grew up in Paris\, Texas\, to a family of evangelical Baptist ministers and missionaries. Supplementing his religious upbringing with comic books and Greek mythology\, at the age of 10 he invented Torpedo Boy — an alter ego/superhero he still uses today. At this young age\, Hancock already began to develop a singular mythology\, which has evolved over the years. Ultimately birthing his own creation myth — as played out through paintings\, sculpture\, drawings\, prints\, and installation — Hancock tells the story of the Mounds (gentle hybrid plant-like creatures) protected by Torpedo Boy\, and their enemies\, the Vegans (mutants who consume tofu and spill Mound blood every chance they get). These narratives explore good and evil\, authority\, race\, moral relativism\, and religion\, all while creating a truly unique body of visual art referencing artists such as Philip Guston and Henry Darger\, as well as making unapologetic nods to comic books\, illustrations\, animations\, horror films\, and toys.\nIn March 2019\, Hancock will bring his richly detailed belief system\, what he calls the “Mind of the Mound\,” to MASS MoCA\, fully integrating narrative\, installation\, and performance in his largest solo project to date — achieving “critical mass” of his vision. For Hancock\, the Mound is more than just a character; it is a way of life. “Mounds are not only natural depositories for memories and other bits of discarded humanity\, but they are a way for us to build a collective psycho-emotional hierarchy\, as well as a way to describe an individual’s intuitive profile\,” notes Hancock. In his work\, the Mound is a site where the accumulation and classification of artworks exist alongside his toy collecting\, comic books\, superheroes\, Garbage Pail Kids\, and childhood drawings. Mounds proliferate through culture\, functioning as a rhizomatic network — living structures connected via an underground root system — turning them into one being. The Mounds are the Tower of Babel\, a beehive\, and even the mashed potato tower from Close Encounters of the Third Kind (1977)\, but are all interconnected. Hancock seamlessly blends culture and memory\, not just for himself\, but in order to release his mythology into the world where it gains yet additional layers and complexity.  \nLeaving no surface untouched\, Hancock will invite visitors to step inside giant Mound sculptures\, whose interiors will be kaleidoscopic installations: part toy fair\, part museum\, and part theme park\, all run to wild proliferation. For example\, one vignette will be designed to display Hancock’s recently created Halloween costumes\, while another will function as a museum containing toys designed by the artist alongside a sampling from his own vast collection (an homage to artist Claes Oldenburg’s 1965-77 Mouse Museum\, a Mickey Mouse-shaped structure full of the artist’s renditions of iconic pop culture objects). Also on view will be a large mound covered in handmade carpet\, as well as an animatronic realization of a scene from the artist’s 2015 video What the Bringback Brought. These immersive environments will share space with wall drawings\, paintings\, and pages from the new 300-page graphic novel that Hancock is in the midst of creating.  \nInspired by MASS MoCA’s programming in visual and performing arts\, Hancock will work with the museum to activate the space\, collaborating with musicians\, singers\, dancers\, and preachers to bring his complex story to life. Performance has often served as a key element in Hancock’s work. In Devotion (2013) he dressed as a Mound and sang devotional songs after being fed Jell-O. And in 2013 he took things one step further\, collaborating with Ballet Austin on a full-scale production called Cult of Color: Call to Color\, which involved characters Sesom (Moses spelled backwards)\, a Vegan minister offering salvation; the benevolent Painter; and antagonistic Betto Watchow. Of his performances\, Hancock states: “Perhaps the most important function was to give me faith in the characters I was painting. I gained belief in the transformative power of these characters by being the first to undergo transformation. With that belief as part of my muscle memory\, I could then paint\, draw\, write\, or sculpt without hesitation.” \nWith this ambitious new environment\, Hancock comes full circle\, merging his own backstory with his created mythology in a carnival-esque space where viewers can revel in spectacle\, get lost in childlike wonder\, and learn to believe — while simultaneously contemplating how we build and share faith\, mythology\, information\, and community. In the end\, Hancock reminds us that Mounds are museums; they are our basements\, our living rooms\, our memories\, our minds\, and\, most importantly\, our collective understanding. \nAbout the Artist\nTrenton Doyle Hancock (b. 1974 in Oklahoma City\, OK) earned his BFA from Texas A&M University\, Commerce\, and his MFA from the Tyler School of Art at Temple University\, Philadelphia. He was featured in the 2000 and 2002 Whitney Biennial exhibitions. In 2014\, his exhibition\, Skin & Bones: 20 Years of Drawing at the Contemporary Arts Museum in Houston\, traveled to Akron Art Museum\, OH; The Studio Museum in Harlem\, New York\, NY; and Virginia Museum of Contemporary Art. Solo exhibitions include: The Savannah College of Art and Design\, Savannah and Atlanta; the Weatherspoon art Museum\, Greensboro\, NC; the Modern Art Museum of Fort Worth\, TX; The Museum of Contemporary Art\, North Miami\, FL; Olympic Sculpture Park at the Seattle Art Museum\, WA; and Museum Boijmans Van Beuningen\, Rotterdam\, the Netherlands. Hancock’s work is in the permanent collections of the Dallas Museum of Art\, TX; the Menil Collection\, Houston\, TX; Museum of Fine Arts\, Houston\, TX; The Museum of Modern Art\, New York\, NY; Whitney Museum of American Art\, New York\, NY; The Metropolitan Museum of Art\, New York\, NY; The Studio Museum in Harlem\, New York\, NY; Brooklyn Museum\, NY; and San Francisco Museum of Modern Art. In 2017\, Hancock was named Arts League Houston’s Texas artist of the year. He is represented by James Cohan Gallery\, NY; Hales Gallery\, London; and Shulamit Nazarian\, LA. He lives and works in Houston\, TX. \n\n\nYou can download a PDF of the exhibition guide here. \n \nFurther Reading\nTrenton Doyle Hancock\, 4Columns\nA hero’s tale\, freshly told at MASS MoCA\, The Boston Globe\n1000 Words: Trenton Doyle Hancock\, ArtForum \nPrincipal exhibition support is provided by an anonymous donor. Lead support is provided by the National Endowment for the Arts with major support from Timur Galen and Linda Genereux and Joan and Michael Salke. Contributing support comes from Matthew Bliwise and Nicole Deller\, Hedy Fischer and Randy Shull\, and Leigh and Reggie Smith\, with additional support from Ace Ehrlich. Programming at MASS MoCA is made possible in part by the Barr Foundation\, Horace W. Goldsmith Foundation\, and Mass Cultural Council. \nTrenton Doyle Hancock\nBecoming the Toymaker\, Phase 14 of 41\, or Common Phenomenon or Simply Commomenon\, 2017\nAcrylic and mixed media on canvas\n16 x 16 x 1 in. \n \n
URL:https://massmoca.org/event/trenton-doyle-hancock-mind-of-the-mound-critical-mass/
LOCATION:Building 5
CATEGORIES:Archive Exhibitions,Art,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2018/11/HANCOCK__FeatureHalf.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190331T080000
DTEND;TZID=America/New_York:20200303T170000
DTSTAMP:20260405T163352
CREATED:20180327T163724Z
LAST-MODIFIED:20201013T125830Z
UID:28439-1554019200-1583254800@massmoca.org
SUMMARY:Suffering From Realness
DESCRIPTION:“It will gradually become apparent that at particular moments when there is within a society a crisis of belief…the sheer material factualness of the human body will be borrowed to lend that cultural construct the aura of ‘realness’ and ‘certainty.’ – Elaine Scarry\, The Body in Pain: The Making and Unmaking of the World (1985) \nSuffering From Realness explores the politics of representation — and the ways in which artists use the body to grasp at and re-center the “aura of realness” in an age of uncertainty. The title for the exhibition is borrowed from the song “Ni**as in Paris” by Jay-Z and Kanye West in which West raps: “Doctors say I’m the illest / ‘Cause I’m suffering from realness.” This prophetic lyric ended up signaling the musician’s spiraling ego\, over-the-top public behavior\, and mental health issues. But the phrase also begs the question\, “What exactly is realness?” In her most political group exhibition to date\, curator Denise Markonish explores the fluidity of identity and the media rituals performed to tell the narrative of “realness.”\nSuffering From Realness artists Vincent Valdez and Adriana Corral mark the opening of this new exhibition\, on Saturday\, April 13 at 4pm\, with a procession of their sculpture Requiem\, a larger-than life cast of an American eagle\, accompanied by parading musicians — recalling a New Orleans-style jazz funeral. The artists will discuss their work following the event.\nRealness in the 21st century is an increasingly complicated concept. In 2016\, British filmmaker Adam Curtis directed HyperNormalisation\, which is accompanied by the following tagline: “Our world is strange and often fake and corrupt. But we think it’s normal because we can’t see anything else.” In the film\, Curtis traces society’s descent into — to borrow Stephen Colbert’s term — ‘truthiness’ and the systematic confusion it has created\, from the Reagan to Trump administrations. The film outlines how\, since the 1970s\, corporations and politicians have increasingly gained power over the “real world” by creating a “fake world” that they can easily stabilize and control. Examples range from various financial crises to the use of Libyan dictator Muammar Gaddafi as a public relations pawn by the United States. In the last two years\, absurdity has been amplified further as xenophobic behavior has reached a new extreme. Artists are increasingly probing the notion of realness\, using art to create moments of political resistance while also trying\, difficult as it may be\, to forge paths towards reconciliation. \nThe artists whose work comprise Suffering From Realness examine the human condition from all sides\, creating works in various media that are both personal and universal\, addressing racism\, violence\, gender equality\, the politicized body of wartime\, the anxious body\, the complexity of responsibility\, and the future. Ultimately\, the exhibition endeavors to provide a sliver of optimism\, to show how tenderness and collective action can lead to a new form of realness\, one tied less to uncertainty and more to liberation. No longer bound\, we can “resist or move on\, be mad\, be rash\, smoke\, and explode” (Morrissey\, Hold On to Your Friends)\, and ultimately\, find hope in something lasting and real. \nFeaturing: Aziz+Cucher\, Cassils\, Adriana Corral\, Joey Fauerso\, Jeffrey Gibson\, Hayv Kahraman\, Jennifer Karady\, Titus Kaphar\, Robert Longo\, Christopher Mir\, MPA\, Wangechi Mutu\, Allison Schulnik\, Keith Sklar\, Robert Taplin\, and Vincent Valdez \n\njQuery(document).ready(function(){ jQuery("#amw_galleria_slideshow_10").galleria({"dataSource":[{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/03\/RS105800_Cassils02-1-878x878.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/03\/RS105800_Cassils02-1-878x878.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/03\/RS105800_Cassils02-1-780x780.jpg"\,"title":"Cassils_Suffering_From_Realness"\,"description":"Cassils\nAlchemic No. 1\, 2017\nInk-jet print\n30 x 30 inches\nFrom the series “Alchemized\,” 2017\nPhoto: Cassils with Robin Black"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/03\/RS106109_TIK17.009-Darker-than-Cotton-HR-878x1320.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/03\/RS106109_TIK17.009-Darker-than-Cotton-HR-878x1320.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/03\/RS106109_TIK17.009-Darker-than-Cotton-HR-519x780.jpg"\,"title":"Titus_Kaphar_Darker_than_Cotton_Suffering_from_realness"\,"description":"Titus Kaphar\nDarker than Cotton\, 2018\nOil on canvas\n63 x 36 inches\n\u00a9 Titus Kaphar\nCourtesy of the artist and Jack Shainman Gallery\, New York."}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/03\/RS105819_Keith-Sklar_Table_Oil-and-Acrylic-on-Canvas-mixed-media_67x89x4_2010-878x657.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/03\/RS105819_Keith-Sklar_Table_Oil-and-Acrylic-on-Canvas-mixed-media_67x89x4_2010-878x657.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/03\/RS105819_Keith-Sklar_Table_Oil-and-Acrylic-on-Canvas-mixed-media_67x89x4_2010-780x584.jpg"\,"title":"Keith Sklar_Table_Suffering_from_realness"\,"description":"Keith Sklar\nTable\, 2010\nOil and acrylic on canvas\, mixed media\n67 x 89 x 4 inches\nCourtesy of the artist\n"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/03\/RS106103_DSC_3961-Edit-878x544.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/03\/RS106103_DSC_3961-Edit-878x544.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/03\/RS106103_DSC_3961-Edit-780x484.jpg"\,"title":"Vincent_Valdez_Metaonia_Suffering_from_realness"\,"description":"Vincent Valdez\nMetaonia\, 2017\nOil on canvas\n84 x 132 inches\nCourtesy of the artist and David Shelton Gallery"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/03\/RS105805_2-878x1199.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/03\/RS105805_2-878x1199.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/03\/RS105805_2-571x780.jpg"\,"title":"Joey Fauerso You Destroy Every Special Thing I Make\, Suffering From Realness"\,"description":"Joey Fauerso\nYou Destroy Every Special Thing I Make\, 2017\nWood and canvas\n72 x 60 inches\nCourtesy of the artist"}]\,"width":"auto"\,"height":0.76\,"autoplay":false\,"transition":"slide"\,"initialTransition":"fade"\,"transitionSpeed":0\,"_delayTime":4000\,"_hideControls":false\,"_thumbnailMode":"grid"\,"_captionMode":"on_expand"}); });\n  \n\n\nYou can download a PDF of the exhibition guide here.\nAbout the Artists\nAnthony Aziz and Sammy Cucher have been living and working together since 1991. They are pioneers in the field of digital imaging and post-photography\, using diverse media to explore the issues of our time. The duo has exhibited at the 1995 Venice Biennale (representing Venezuela); the Los Angeles County Museum of Art\, CA; the Herzliya Museum of Contemporary Art\, Israel; The Indianapolis Museum of Art\, IN; Museo Nacional Centro de Arte Reina Sofía\, Madrid; and the San Francisco Museum of Modern Art\, CA. They teach at Parsons The New School for Design\, New York\, NY. They are based in Brooklyn\, New York\, NY and are represented by Gazelli Art House\, London. \nThe Huffington Post called Cassils “one of ten transgender artists who are changing the landscape of contemporary art.” Cassils achieved international recognition for a rigorous engagement with the body as a form of social sculpture. Recent solo exhibitions include: Ronald Feldman Fine Arts\, New York\, NY; Philadelphia Academy of Fine Arts\, PA; The School of the Museum of Fine Arts\, Boston\, MA; and Bemis Center for Contemporary Art\, Omaha\, NE. Group exhibitions include Los Angeles Contemporary Exhibitions\, CA; The Broad Museum\, Los Angeles\, CA; and the National Museum of Macedonia. Cassils is based in Los Angeles\, CA. \nAdriana Corral employs a research-based practice\, working with material provided by anthropologists\, writers\, journalists\, gender scholars\, human rights attorneys\, and victims\, to create installations\, performances\, and sculptures that explore universal themes of loss\, injustice\, concealment\, and memory. She has exhibited at the Grounds for Sculpture\, Trenton\, NJ; National Museum of Mexican Art\, Chicago\, IL; McNay Art Museum\, San Antonio\, TX; Artpace San Antonio\, TX; The Snite Museum of Art\, University of Notre Dame\, IN; and David Shelton Gallery\, Houston\, TX. Corral lives and works in Houston. \nJoey Fauerso works between painting\, drawing\, and performance\, exploring themes of nature\, culture\, gender\, family\, and humor. Exhibitions include Centro Cultural Border\, Mexico City; Villa Terrace Museum\, Milwaukee\, WI; and David Shelton Gallery\, Houston\, TX. She participated in the Drawing Center’s Open Sessions Residency in New York\, NY (2014-15). She is an Associate Professor in Art and Design at Texas State University in San Marcos and is represented by David Shelton Gallery\, Houston\, TX and Antenna Gallery\, New Orleans\, LA. She lives and works in San Antonio\, TX. \nJeffrey Gibson grew up in the United States\, Germany\, Korea\, and England. He is a member of the Mississippi Band of Choctaw Indians and is half Cherokee. This unique combination of global cultural influences converges in his multidisciplinary practice. Gibson’s works are in the permanent collections of the Museum of Fine Arts\, Boston\, MA; the Smithsonian; the National Gallery of Canada\, Ottawa\, ON; and Crystal Bridges Museum of American Art\, Bentonville\, AR. Solo exhibitions include the Savannah College of Art and Design Museum of Art\, Savannah\, GA; The Institute of Contemporary Art\, Boston\, MA; and the Cornell Fine Arts Museum\, Winter Park\, FL. He lives and works in Hudson\, NY. \nHayv Kahraman’s work grapples with the marginal spaces between Western and Middle Eastern culture\, aesthetics\, and concepts of gender through her personal history as an Iraqi émigré. Recent solo exhibitions include: Acts of Reparation\, Contemporary Art Museum\, St. Louis\, MO; Audible Inaudible\, Joslyn Art Museum\, Omaha\, NE\, travelling to The Third Line gallery\, Dubai; Sound Wounds\, Asian Art Museum\, San Francisco\, CA; Collective Performance\, The Nelson-Atkins Museum of Art\, Kansas City\, MO; and Jack Shainman Gallery\, New York\, NY. She lives and works in Los Angeles\, CA. \nJennifer Karady works with American veterans returning from Iraq and Afghanistan to create staged narrative photographs that depict their individual stories and address their adjustment to civilian life. After an extensive interview process\, Karady collaborates with the veterans to restage a chosen moment from war within the safe space of their everyday environment. Her exhibitions include the Palm Springs Art Museum\, CA; the University of Michigan\, Ann Arbor; CEPA Gallery\, Buffalo\, NY; Momenta Art\, Brooklyn\, NY; SF Camerawork\, San Francisco\, CA; and White Columns\, New York\, NY. \nTitus Kaphar’s works interact with art history by appropriating its styles and mediums. He cuts\, bends\, sculpts\, and mixes historic painting\, creating new works between fiction and quotation. His work has been included in exhibitions at Jack Shainman Gallery\, New York\, NY; the Studio Museum in Harlem\, NY; and the Seattle Art Museum\, WA. His work is in the collections of the above museums along with the Museum of Modern Art\, New York\, NY. In 2014\, Time magazine commissioned Kaphar to create an artwork in response to the protests in Ferguson\, MO. He lives and works in New Haven\, CT. \nRobert Longo’s monumental charcoal drawings address the psychology and anxiety of what it means to be human. He has had retrospectives at the Hamburg Kunstverein\, Germany; the Menil Collection\, Houston\, TX; the Los Angeles County Museum of Art\, CA; the Museum of Contemporary Art\, Chicago\, IL; and the Isetan Museum of Art\, Tokyo\, Japan. Group exhibitions include Documenta\, the Whitney Biennial\, and the Venice Biennale. He is represented by Metro Pictures\, New York\, NY; Galerie Hans Mayer\, Düsseldorf; and Galerie Thaddaeus Ropac\, Paris. He lives and works in New York\, NY. \nChristopher Mir’s paintings explore the slippages between consciousness and dream states. Solo exhibitions include RARE Gallery\, New York\, NY; Galeria Senda\, Barcelona; Galerie Schuster\, Berlin; the Wadsworth Athenaeum Museum of Art\, Hartford\, CT; and TMproject\, Geneva. Group exhibitions include The Aldrich Contemporary Art Museum\, Ridgefield\, CT; the deCordova Sculpture Park and Museum\, Lincoln\, MA; and Bellwether\, New York\, NY. His work is in the collections of Yale University Art Gallery; Susan and Michael Hort; Jeff Bezos\, Beth Rudin DeWoody; Simon Watson; and Pamela Auchincloss. He lives and works in Hamden\, CT. \nMPA engages her body in performances and installations exploring the social and political implications of the body as a site of resistance. Works and performances have been seen in New York\, NY at Swiss Institute; Whitney Museum of American Art; The Kitchen; Art in General\, Brooklyn; Los Angeles Contemporary Exhibitions\, CA; Stedelijk Museum\, Amsterdam; the Art Institute of Chicago\, IL; the Museum of Contemporary Art\, Chicago\, IL; Contemporary Art Museum\, Houston\, TX; and Museo de Arte Contemporáneo\, Oaxaca\, Mexico. MPA lives and works in TwentyNine Palms\, CA. \nWangechi Mutu uses her training in sculpture and anthropology to reveal contradictions of female and cultural identity\, referencing colonialism\, African politics\, and fashion. Solo exhibitions include The Institute of Contemporary Art\, Boston\, MA; The Contemporary Austin\, TX; Barbara Gladstone Gallery\, New York\, NY; the Museum of Fine Arts\, Houston\, TX; SITE Santa Fe\, NM; the Brooklyn Museum of Art\, NY; and the Nasher Museum of Art at Duke University\, NC. In 2017\, she was part of Performa 17\, a performance art biennial in New York\, NY. Mutu lives and works between New York\, NY and Nairobi. \nAllison Schulnik uses painting\, ceramics\, and animation to choreograph her subjects in compositions that embody a spirit of the macabre\, a Shakespearean comedy/tragedy of love\, death\, and farce. Solo exhibitions include the Wadsworth Atheneum Museum of Art\, Hartford\, CT; Laguna Art Museum\, Laguna Beach\, CA; Oklahoma City Museum of Art\, OK; Nerman Museum of Contemporary Art\, Overland Park\, KS; ZieherSmith gallery\, New York\, NY; Division Gallery\, Montreal; and Rokeby Gallery\, London. Her films received “Best Experimental Animation” at the Ottawa International Animation Festival. She lives and works in Los Angeles\, CA. \nKeith Sklar’s drawings and paintings are densely packed with cultural references\, absurdist humor\, and pathos. His works have been shown at the Los Angeles County Museum of Art\, CA; San Francisco Museum of Modern Art\, CA; and Scottsdale Museum of Contemporary Art\, AZ. Solo exhibitions include P·P·O·W\, New York\, NY; Rosamund Felsen Gallery\, Santa Monica\, CA; and Dorsch Gallery\, Miami\, FL. Sklar has received a Robert Rauschenberg Foundation Residency\, a California Arts Council Fellowship in Visual Arts\, and multiple Artist-in-Communities Grants. He lives and works in Chicago\, IL. \nRobert Taplin lives and works near New Haven\, CT. His solo exhibitions include the Pennsylvania Academy of the Fine Arts\, PA; Grounds for Sculpture\, Hamilton\, NJ; The Aldrich Contemporary Art Museum\, Ridgefield\, CT; the Ezra and Cecile Zilkha Gallery at Wesleyan University\, Middletown\, CT; the Smack Mellon Gallery\, Brooklyn\, NY; and Winston Wächter Fine Art\, New York\, NY. His public commissions include the State of Connecticut and the New York Metropolitan Transportation Authority\, and he has received grants from the Connecticut Commission on the Arts\, the National Endowment for the Arts\, and the John Simon Guggenheim Memorial Foundation. He has taught at Yale University and the Rhode Island School of Design. He is represented by Winston Wächter Fine Art in New York City. \nVincent Valdez is committed to the practice of drawing and painting and is recognized for his intensive devotion to skill and detail. His monumental portrayal of the contemporary figure remarks on a universal struggle with various sociopolitical arenas and eras. Exhibitions and collections include: the Ford Foundation; The Los Angeles County Museum of Art\, CA; the Blanton Museum of Art\, Austin\, TX; The Museum of Fine Arts\, Houston\, TX; Smithsonian American Art Museum\, Washington\, D.C.; and the National Portrait Gallery\, Washington\, D.C.\, among others. He is represented by David Shelton Gallery and lives and works in Houston\, TX. \nFurther Reading\nAt MASS MoCA\, artist Titus Kaphar leads us back from the abyss\, The Boston Globe \nPrincipal exhibition support for Suffering from Realness is provided by the Artist’s Resource Trust (A.R.T.) Fund\, a fund of Berkshire Taconic Community Foundation\, with lead support from Christopher & Alida Latham\, contributing support from Gazelli Art House and Bridget Rigas\, and additional support from Caroline Cunningham & Donald Young. Generous funding for the exhibition catalog comes from the Elizabeth Firestone Graham Foundation. Programming at MASS MoCA is made possible in part by the Barr Foundation\, Horace W. Goldsmith Foundation\, and Mass Cultural Council. \nTitus Kaphar\nSeeing Through Time\, 2018 \n \n \n
URL:https://massmoca.org/event/suffering-from-realness/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Archive Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2018/11/Feature_Full_Seeingthroughtime2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190405T080000
DTEND;TZID=America/New_York:20260101T170000
DTSTAMP:20260405T163352
CREATED:20190411T160124Z
LAST-MODIFIED:20250120T212710Z
UID:33199-1554451200-1767286800@massmoca.org
SUMMARY:Joe Manning: Looking at North Adams
DESCRIPTION:Author and historian Joe Manning speaks to life in and around this city — referencing the trains\, hills\, rivers\, and buildings that shape life in North Adams. Manning’s short texts\, describing and illuminating the views through mill building windows throughout the museum\, are excerpted from his publications about North Adams history and drawn from oral histories of city residents. Manning’s “city labels” speak to life in North Adams\, including the retail scene on Main Street and what it was like to grow up in North Adams in the mid-1900s.\n
URL:https://massmoca.org/event/joe-manning-looking-at-north-adams/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Current Exhibitions,Exhibition,Ongoing Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2019/04/Looking_at_North_Adams_3840x1920.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190525T080000
DTEND;TZID=America/New_York:20200405T170000
DTSTAMP:20260405T163352
CREATED:20180821T175307Z
LAST-MODIFIED:20200622T185117Z
UID:30543-1558771200-1586106000@massmoca.org
SUMMARY:Cauleen Smith We Already Have What We Need
DESCRIPTION:Cauleen Smith describes her work as a reflection on “the everyday possibilities of the imagination.” Trained as a filmmaker\, the multidisciplinary artist creates visual and phenomenological experiences that ruminate on social\, cultural\, intellectual\, artistic\, and political liberation. Her stunning works draw on poetry\, Afrofuturism\, science fiction\, and tactics of experimental film to conjure alternative narratives and what the artist has called “a cornucopia of future histories.” She engages topics and influences as disparate as the African Diaspora\, the image of black women in film\, the music and legacies of Sun Ra and John Coltrane\, the post-hurricane landscape of New Orleans\, the work of Dutch conceptualist Bas Jan Ader\, the politics of land art\, and Martin Luther King Jr.’s writings on “creative maladjustment.” She describes her subjects as “the fragile\, the forgotten\, the flawed\, and the fugitive.”\n\njQuery(document).ready(function(){ jQuery("#amw_galleria_slideshow_11").galleria({"dataSource":[{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS126941_Cauleen_Smith_6-1-19-2-hpr-878x1117.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS126941_Cauleen_Smith_6-1-19-2-hpr-878x1117.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS126941_Cauleen_Smith_6-1-19-2-hpr-613x780.jpg"\,"title":"Cauleen Smith\, We Already Have What We Need"\,"description":"\n\t\n\t\t\n\t\t\tCauleen Smith\n\t\t\n\t\t\tWe Already Have What We Need\, 2019  \n\t\t\n\t\t\tMulti-channel video installation with projectors\, slide projectors\,  projection screens\, rope\, sandbags\, plaid plastic travel bags\, monitors\, cctv cameras\, tripods\, c-stands\, custom wood\, metal\, and velvet tables\, leds\, augmented antique and contemporary African figures\, Dembe figure\, tchotchkes\, plaster bases\, augmented model sailboat\, globe mounted on drawing\, Japanese Suiseki stones\, cement Suiseki\, plaster lamp\, ceramic incense burner\, Kintsugi porcelain cups and saucers\, Maneki-Neko\, radio\, polaroid camera\, polaroid photographs\, potted plants\, rocks\, stands\, rock with copper sulphate\, minerals\, artificial Bonsai tree\, bonsai pots\, crow mask\, books\, porcelain\, tuning fork\, mallets\, drumsticks\, disco ball ornaments\, acoustic foam\, candle\, toy excavator\, New Orleans King cake baby\, ceramic whistle\,  peacock feather\, shells\n\t\t\n\t\t\tVariable dimensions (five screens: 22.5 x 12 feet each)\n\t\t\n\t\t\tCourtesy of the artist; Kate Werble Gallery\, New York; and Corbett vs Dempsey\, Chicago\n\t\t\n\t\t\t\n\t\t\tAs installed in Cauleen Smith: We Already Have What We Need (MASS MoCA\, North Adams\, MA\, May 25\, 2019-April 2020)\n\t\t\tPhoto: David Dashiell\n\t\t\n\t\n"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS126949_Cauleen_Smith_5-27-19-21-hpr-878x585.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS126949_Cauleen_Smith_5-27-19-21-hpr-878x585.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS126949_Cauleen_Smith_5-27-19-21-hpr-780x520.jpg"\,"title":"Cauleen Smith\, We Already Have What We Need"\,"description":"\n\t\n\t\t\n\t\t\tCauleen Smith \n\t\t\n\t\t\t\n\t\t\t\tWe Already Have What We Need\, 2019   \n\t\t\t\n\t\t\t\tMulti-channel video installation with projectors\, slide projectors\, projection screens\, rope\, sandbags\, plaid plastic travel bags\, monitors\, cctv cameras\, tripods\, c-stands\, custom wood\, metal\, and velvet tables\, leds\, augmented antique and contemporary African figures\, Dembe figure\, tchotkes\, plaster bases\, augmented model sailboat\, globe mounted on drawing\, Japanese Suiseki stones\, cement Suiseki\, plaster lamp\, ceramic incense burner\, Kintsugi porcelain cups and saucers\, Maneki-Neko\, radio\, polaroid camera\, polaroid photographs\, potted plants\, rocks\, stands\, rock with copper sulphate\, minerals\, artificial Bonsai tree\, bonsai pots\, crow mask\, books\, porcelain\, tuning fork\, mallets\, drumsticks\, disco ball ornaments\, acoustic foam\, candle\, toy excavator\, New Orleans King cake baby\, ceramic whistle\,  peacock feather\, shells\n\t\t\t\n\t\t\t\tVariable dimensions; screen dimensions: 22 ½ x 12 feet\n\t\t\t\n\t\t\t\tCourtesy of the artist; Kate Werble Gallery\, New York; and Corbett vs. Dempsey\, Chicago\n\t\t\t\n\t\t\t\t \n\t\t\t\n\t\t\t\tAs installed in Cauleen Smith: We Already Have What We Need (MASS MoCA\, North Adams\, MA\, May 25\, 2019-April 2020)\n\t\t\t\n\t\t\t\t\n\t\t\t\t\tPhoto: David Dashiell\n\t\t\t\n\t\t\n\t\n"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS126950_Cauleen_Smith_5-27-19-22-hpr-878x690.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS126950_Cauleen_Smith_5-27-19-22-hpr-878x690.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS126950_Cauleen_Smith_5-27-19-22-hpr-780x613.jpg"\,"title":"Cauleen Smith\, We Already Have What We Need"\,"description":"\n\t\n\t\t\n\t\t\tCauleen Smith \n\t\t\n\t\t\t\n\t\t\t\tWe Already Have What We Need\, 2019   \n\t\t\t\n\t\t\t\tMulti-channel video installation with projectors\, slide projectors\, projection screens\, rope\, sandbags\, plaid plastic travel bags\, monitors\, cctv cameras\, tripods\, c-stands\, custom wood\, metal\, and velvet tables\, leds\, augmented antique and contemporary African figures\, Dembe figure\, tchotkes\, plaster bases\, augmented model sailboat\, globe mounted on drawing\, Japanese Suiseki stones\, cement Suiseki\, plaster lamp\, ceramic incense burner\, Kintsugi porcelain cups and saucers\, Maneki-Neko\, radio\, polaroid camera\, polaroid photographs\, potted plants\, rocks\, stands\, rock with copper sulphate\, minerals\, artificial Bonsai tree\, bonsai pots\, crow mask\, books\, porcelain\, tuning fork\, mallets\, drumsticks\, disco ball ornaments\, acoustic foam\, candle\, toy excavator\, New Orleans King cake baby\, ceramic whistle\,  peacock feather\, shells\n\t\t\t\n\t\t\t\tVariable dimensions; screen dimensions: 22 ½ x 12 feet\n\t\t\t\n\t\t\t\tCourtesy of the artist; Kate Werble Gallery\, New York; and Corbett vs. Dempsey\, Chicago\n\t\t\t\n\t\t\t\t \n\t\t\t\n\t\t\t\tAs installed in Cauleen Smith: We Already Have What We Need (MASS MoCA\, North Adams\, MA\, May 25\, 2019-April 2020)\n\t\t\t\n\t\t\t\t\n\t\t\t\t\tPhoto: David Dashiell\n\t\t\t\n\t\n"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS126951_Cauleen_Smith_5-27-19-25-hpr-878x690.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS126951_Cauleen_Smith_5-27-19-25-hpr-878x690.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS126951_Cauleen_Smith_5-27-19-25-hpr-780x613.jpg"\,"title":"Cauleen Smith\, We Already Have What We Need"\,"description":"\n\t\n\t\t\n\t\t\tCauleen Smith \n\t\t\n\t\t\t\n\t\t\t\tWe Already Have What We Need\, 2019   \n\t\t\t\n\t\t\t\tMulti-channel video installation with projectors\, slide projectors\, projection screens\, rope\, sandbags\, plaid plastic travel bags\, monitors\, cctv cameras\, tripods\, c-stands\, custom wood\, metal\, and velvet tables\, leds\, augmented antique and contemporary African figures\, Dembe figure\, tchotkes\, plaster bases\, augmented model sailboat\, globe mounted on drawing\, Japanese Suiseki stones\, cement Suiseki\, plaster lamp\, ceramic incense burner\, Kintsugi porcelain cups and saucers\, Maneki-Neko\, radio\, polaroid camera\, polaroid photographs\, potted plants\, rocks\, stands\, rock with copper sulphate\, minerals\, artificial Bonsai tree\, bonsai pots\, crow mask\, books\, porcelain\, tuning fork\, mallets\, drumsticks\, disco ball ornaments\, acoustic foam\, candle\, toy excavator\, New Orleans King cake baby\, ceramic whistle\,  peacock feather\, shells\n\t\t\t\n\t\t\t\tVariable dimensions; screen dimensions: 22 ½ x 12 feet\n\t\t\t\n\t\t\t\tCourtesy of the artist; Kate Werble Gallery\, New York; and Corbett vs. Dempsey\, Chicago\n\t\t\t\n\t\t\t\t \n\t\t\t\n\t\t\t\tAs installed in Cauleen Smith: We Already Have What We Need (MASS MoCA\, North Adams\, MA\, May 25\, 2019-April 2020)\n\t\t\t\n\t\t\t\t\n\t\t\t\t\tPhoto: David Dashiell\n\t\t\t\n\t\t\n\t\n"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS126965_Cauleen_Smith_5-27-19-38-hpr-878x690.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS126965_Cauleen_Smith_5-27-19-38-hpr-878x690.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS126965_Cauleen_Smith_5-27-19-38-hpr-780x613.jpg"\,"title":"Cauleen Smith\, We Already Have What We Need"\,"description":"\n\t\n\t\t\n\t\t\tCauleen Smith\n\t\t\n\t\t\tBLK FMNNST Loaner Library 1989-2019\, 2018-19  \n\t\t\n\t\t\tGouache\, graphite\, and mica in acrylic medium on paper\, 32 drawings\n\t\t\n\t\t\t11 7\/8 x 8 7\/8 in. each (unframed) \n\t\t\n\t\t\tCourtesy of the artist; Kate Werble Gallery\, New York; and Corbett vs. Dempsey\, Chicago\n\t\t\n\t\t\t \n\t\t\n\t\t\tCauleen Smith \n\t\t\n\t\t\tRemote Viewing\, 2009 \n\t\t\n\t\t\tHD video\, with sound\, 14 min.\n\t\t\n\t\t\tCourtesy of the artist; Kate Werble Gallery\, New York; and Corbett vs. Dempsey\, Chicago\n\t\t\n\t\t\t \n\t\t\n\t\t\tAs installed in Cauleen Smith: We Already Have What We Need (MASS MoCA\, North Adams\, MA\, May 25\, 2019-April 2020)\n\t\t\n\t\t\tPhoto: David Dashiell\n\t\t\n\t\n"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS126955_Cauleen_Smith_5-27-19-50-hpr-878x690.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS126955_Cauleen_Smith_5-27-19-50-hpr-878x690.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS126955_Cauleen_Smith_5-27-19-50-hpr-780x613.jpg"\,"title":"Cauleen Smith\, We Already Have What We Need"\,"description":"\n\t\n\t\t\n\t\t\tCauleen Smith\n\t\t\n\t\t\tAll the World’s Treasures\, 2019  \n\t\t\n\t\t\tRice Geometries (custom bean bags stuffed with rice and black-eyed peas)\, custom-made wood table with casters\, and lights\n\t\t\n\t\t\tVariable dimension (table: approximately 30 x 43 x 47 in.)\n\t\t\n\t\t\tCourtesy of the artist; Kate Werble Gallery\, New York; and Corbett vs. Dempsey\, Chicago\n\t\t\n\t\t\t\n\t\t\t\t \n\t\t\t\n\t\t\t\tCauleen Smith \n\t\t\t\n\t\t\t\tI Want to See My Skirt\, 2006 (detail)\n\t\t\t\n\t\t\t\tMulti-channel video installation inspired by photographs by Malick Sidibé and poems by A. Van Jordan\n\t\t\t\n\t\t\t\tfeaturing A Woman Discusses her Photograph\n\t\t\t\n\t\t\t\tSuper 8 transferred to video\, with sound\, 1:48 min.\n\t\t\t\n\t\t\t\tCourtesy of the artist; Kate Werble Gallery\, New York; and Corbett vs. Dempsey\, Chicago\n\t\t\t\n\t\t\t\t \n\t\t\n\t\t\n\t\t\tAs installed in Cauleen Smith: We Already Have What We Need (MASS MoCA\, North Adams\, MA\, May 25\, 2019-April 2020)\n\t\t\tPhoto: David Dashiell\n\t\n"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS127161_Cauleen_Smith_5-27-19-60-2-hpr-878x690.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS127161_Cauleen_Smith_5-27-19-60-2-hpr-878x690.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS127161_Cauleen_Smith_5-27-19-60-2-hpr-780x613.jpg"\,"title":"Cauleen Smith\, We Already Have What We Need"\,"description":"Cauleen Smith\, Camera\, Pen\, or Gun?\, 2017\nCauleen Smith\, Satin\, poly-satin\, silk-rayon velvet\, indigo-dyed silk rayon velvet\, indigo-dyed silk satin\, rayon-polyester ribbon\, acrylic fabric paint\, satin cord\, poly-silk tassel\, and sequins\n73 x 47 inches\nCourtesy of the artist; Kate Werble Gallery\, New York; and Corbett vs. Dempsey\, Chicago\n\n\nCauleen Smith\, Leave me for the Crows\, 2017 \nSatin\, poly-satin\, silk-rayon velvet\, metallic thread\, polyester fringe\, polysilk tassels\, and sequins\n78 x 51 1\/2 inches\nCollection of the artist\n\n\nCauleen Smith\, My Pathology Is Your Profit\, 2017\nSatin\, poly-satin\, wool felt\, silk-rayon velvet\, cotton\, embroidery floss\, acrylic fabric paint\, acrylic hair beads\, acrylic barrettes\, satin cord\, polyester fringe\, poly-silk tassels\, and sequins\n68 x 49 inches\nCourtesy of the artist; Kate Werble Gallery\, New York; and Corbett vs. Dempsey\, Chicago\n\n\nCauleen Smith\, I Am Holding My Breath\, 2017\nSatin\, poly-satin\, wool felt\, silk-rayon velvet\, cotton\, embroidery floss\, acrylic fabric paint\, satin cord\, polyester fringe\, poly-silk tassels\, and sequins\nCollection of Carrie Schneider and Ben Fain\n\n\nAs installed in Cauleen Smith: We Already Have What We Need (MASS MoCA\, North Adams\, MA\, May 25\, 2019-April 2020)\nPhoto: David Dashiell"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS126952_Cauleen_Smith_5-27-19-33-hpr-878x585.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS126952_Cauleen_Smith_5-27-19-33-hpr-878x585.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS126952_Cauleen_Smith_5-27-19-33-hpr-780x520.jpg"\,"title":"Cauleen Smith\, We Already Have What We Need"\,"description":"\n\t\n\t\t\n\t\t\t\n\t\t\t\tCauleen Smith\n\t\t\t\n\t\t\t\tEgungun: Ancestor Can’t Find Me\, 2017\n\t\t\t\n\t\t\t\t16 mm film transferred to video\, with sound\, 5:19 min.\n\t\t\t\n\t\t\t\tCourtesy of the artist; Kate Werble Gallery\, New York; and Corbett vs. Dempsey\, Chicago\n\t\t\t\n\t\t\t\t \n\t\t\t\n\t\t\t\tCauleen Smith\n\t\t\t\n\t\t\t\tWeather #1\, 2019 \n\t\t\t\n\t\t\t\tLEE filters\n\t\t\t\n\t\t\t\tSite-specific dimensions\n\t\t\t\n\t\t\t\tCourtesy of the artist; Kate Werble Gallery\, New York; and Corbett vs. Dempsey\, Chicago\n\t\t\t\n\t\t\t\t \n\t\t\t\n\t\t\t\tCauleen Smith\n\t\t\t\n\t\t\t\tRice Geometries\, 2019\n\t\t\t\n\t\t\t\tCustom bean bags stuffed with rice and black-eyed peas\n\t\t\t\n\t\t\t\tDimensions variable\n\t\t\t\n\t\t\t\tCourtesy of the artist; Kate Werble Gallery\, New York; and Corbett vs. Dempsey\, Chicago\n\t\t\t\n\t\t\t\t \n\t\t\t\n\t\t\t\tAs installed in Cauleen Smith: We Already Have What We Need (MASS MoCA\, North Adams\, MA\, May 25\, 2019-April 2020)\n\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\tPhoto: David Dashiell\n\t\t\t\t\n\t\t\t\n\t\t\n\t\n"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS129906_2019-08-08_Cauleen_Smith_006-lpr-878x586.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS129906_2019-08-08_Cauleen_Smith_006-lpr-878x586.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS129906_2019-08-08_Cauleen_Smith_006-lpr-780x520.jpg"\,"title":"Cauleen Smith\, We Already Have What We Need"\,"description":"\n\tCauleen Smith\, Black and Blue Over You (After Bas Jan Ader For Ishan)\, 2010 (exhibition view)\n\tDigital video\, with sound\, 9:30 min.\n\tCourtesy of the artist; Kate Werble Gallery\, New York; and Corbett vs. Dempsey\, Chicago"}\,{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS127329_2019-06-18_Cauleen_Smith_billboards_005-lpr-878x591.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS127329_2019-06-18_Cauleen_Smith_billboards_005-lpr-878x591.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2018\/08\/RS127329_2019-06-18_Cauleen_Smith_billboards_005-lpr-780x525.jpg"\,"title":"Cauleen Smith\, We Already Have What We Need"\,"description":""}]\,"width":"auto"\,"height":0.76\,"autoplay":false\,"transition":"slide"\,"initialTransition":"fade"\,"transitionSpeed":0\,"_delayTime":4000\,"_hideControls":false\,"_thumbnailMode":"grid"\,"_captionMode":"on_expand"}); });\n  \nSpanning the entirety of MASS MoCA’s expansive first-floor galleries\, Smith’s exhibition — her most comprehensive to date — will feature a new immersive installation\, a survey of her videos made over the last decade\, new textiles\, a selection of banners from her “In the Wake” series featured in the 2017 Whitney Biennial\, a written manifesto\, and new works on paper. The artist has created a new series of drawings related to her Human_3.0 Reading List 2015–2016. Exhibited at the Art Institute of Chicago in 2017\, this earlier compendium of 57 images of book covers proposes a new canon of must-read texts for a more advanced\, better armed version of ourselves. Making its debut at MASS MoCA\, BLK FMNNST Loaner Library 1989–2019 engages the intersection of feminism\, cultural production\, care of the land\, and theories of “black fugitivity\,” a strategy of refusal and disengagement that moves beyond resistance in order to expose and escape the structures of state power. The new series of 30 drawings includes In The Wake by Christina Sharpe\, Sula by Toni Morrison\, Lose Your Mother by Saidiya Hartman\, and Whatever Happened To Interracial Love by Kathleen Collins\, among others. (MASS MoCA is organizing a book club for fall 2019 that will focus on a selection from the list to facilitate discussions on the texts themselves and how their themes intersect with the exhibition.) \nThe heart of Smith’s exhibition at MASS MoCA\, a new video installation\, takes an ecological turn as it propels viewers into a revolutionary imaginary. The work meditates on many varied perspectives on what our basic needs are\, from food\, shelter\, and medicine to music and art\, our relationships to each other and to our ancestors\, and to our environment. Images of landscapes from films\, such as Eat Pray Love\, Thelma and Louise\, Fargo\, and Erin Brockovich (all tales of white female self-actualization) are projected on five 22-foot screens that function like architecture within the gallery. Amidst this labyrinthine path created for visitors are 5 tables supporting an array of the “stuff” that we accumulate. Live-feed CCTV recordings of these still-lifes (featuring African figurines\, plants\, a model sailboat\, musical instruments\, and more mundane items) will be layered on top of Smith’s videos. The artist’s provocative arrangements of objects – which she calls “living rooms” or “space stations” – invite us to consider the mundane aspects of life on earth alongside its untapped potential\, which\, as the title of the work suggests\, is within our reach. Up above\, brilliant colors stream through the gallery’s eight large clerestory windows\, throwing constantly changing bits of color on the walls. The hues move from blue to red and back to blue again. The work’s title\, Every Sunrise and Every Sunset All at Once\, refers to NASA’s description of the light produced by an eclipse of a Super Moon. The aesthetically transcendent installation\, described by the artist as a “communal soul search\,” will invite us to see anew – what is and what could be. \nSmith’s explorations of our relationship to nature are related to a new series of textile banners made for the exhibition. Smith’s textiles are central to her practice and are often made for her public processions and activist interventions. Part protest sign\, part flag\, part pep rally accessory\, these works are influenced by a long history of banners hoisted for celebration as well as social and political change\, from those flown by labor unions or carried by activists in the Civil Rights movement. Smith has also been inspired by church banners\, military regiment colors\, and Vodun tapestries\, as well as the heraldry of marching bands. Smith’s 2017 community street parade on the South Side of Chicago If Thoughts Could Heal\, for example\, featured banners\, a brass brand\, poetry by Krista Franklin\, and a ritual cleansing with incense\, and was described as “a revolutionary act of healing fueled by music\, pageantry\, and joy.” The most recent of Smith’s brightly colored\, abstract flags represent “territories” that cannot be colonized\, such as the dawn\, the night\, and the elusive green flash; instead\, these zones can be occupied only through thought and imagination. \nIn Smith’s words: Midnight Darkness\, Eventide\, Dawn\, Noon\, Sunset\, Twilight\, Golden Hour. These are borderless territories ruled only by the tyranny of time. We—all of us—move through these territories thoughtlessly more often than not. These spaces cannot be parceled\, portioned\, or staked. These spaces are as transient as time itself. We—all of us—are without a home in space-time. And I am suggesting that that is how it should be. Meet me at Dawn. It’s cold. We’re tired. Have a fur pillow. Hover above the frosted earth on this lawn chair. Watch the light change. Can you feel the earth rotating around the sun? This is your spaceship. Act accordingly. \n \nAbout the artist:\nCauleen Smith was born in Riverside\, California\, in 1967 and grew up in Sacramento. She earned a BA from San Francisco State University and an MFA from the University of California\, Los Angeles School of Theater\, Film and Television. Her films\, objects\, and installations have been featured in group exhibitions at the Studio Museum of Harlem\, New York; Contemporary Arts Museum Houston; Yerba Buena Center for the Arts\, San Francisco; the New Museum\, New York; and the Museum of Contemporary Art\, Chicago. She has had solo shows for her films and installations at The Kitchen\, New York; Art Institute of Chicago; and DuSable Museum\, Chicago; and had a project at the ICA Philadelphia in Fall 2018. She is the recipient of multiple awards and fellowships including the prestigious inaugural Ellsworth Kelly Award of the Foundation for Contemporary Arts and the Herb Alpert Award in the Arts. She has received a Creative Capital grant\, a Rauschenberg Residency; Black Metropolis Research Consortium Research Fellowship; and the Director’s Grant at the University of California Institute for Research in the Arts. She is represented by Kate Werble\, New York\, and Corbett vs. Dempsey\, Chicago. Smith recently relocated from Chicago to Los Angeles where she teaches at CalArts. \nPrincipal exhibition support is provided by Anne and Greg Avis and the Coby Foundation. Lead support is provided by the National Endowment for the Arts with contributing support from LEE Filters and Susan J. Weiler. Programming at MASS MoCA is made possible in part by the Barr Foundation\, Horace W. Goldsmith Foundation\, and Mass Cultural Council. \nCauleen Smith\, We Already Have What We Need\, 2019\nMulti-channel video installation with projectors\, slide projectors\, projection screens\, rope\, sandbags\, plaid plastic travel bags\, monitors\, cctv cameras\, tripods\, c-stands\, custom wood\, metal\, and velvet tables\, leds\, augmented antique and contemporary African figures\, Dembe figure\, tchotkes\, plaster bases\, augmented model sailboat\, globe mounted on drawing\, Japanese Suiseki stones\, cement Suiseki\, plaster lamp\, ceramic incense burner\, Kintsugi porcelain cups and saucers\, Maneki-Neko\, radio\, polaroid camera\, polaroid photographs\, potted plants\, rocks\, stands\, rock with copper sulphate\, minerals\, artificial Bonsai tree\, bonsai pots\, crow mask\, books\, porcelain\, tuning fork\, mallets\, drumsticks\, disco ball ornaments\, acoustic foam\, candle\, toy excavator\, New Orleans King cake baby\, ceramic whistle\, peacock feather\, shells\nCourtesy of the artist; Kate Werble Gallery\, New York; and Corbett vs. Dempsey\, Chicago\nPhoto: David Dashiell \n\n\n\n \n  \n
URL:https://massmoca.org/event/cauleen-smith/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
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CATEGORIES:Archive Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2018/08/Cauleen_Smith.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190525T080000
DTEND;TZID=America/New_York:20200202T170000
DTSTAMP:20260405T163352
CREATED:20190213T181702Z
LAST-MODIFIED:20210105T135725Z
UID:32547-1558771200-1580662800@massmoca.org
SUMMARY:Annie Lennox: 'Now I Let You Go...'
DESCRIPTION:We interact with an infinity of objects from birth to the grave. \nOver time our ‘belongings’ become more steeped and resonant with memory and nostalgia.\nIn many ways\, personal objects express aspects of who we are — our identity: our values: our statements and choices.  \nThe passages of time through which we exist become defined by the objects with which we interact.  \nThe artefacts contained within the earthen mound — partially buried — partially excavated — have all played a part in my life.  \nI have had a special connection to each item presented — a connection that has been hard to relinquish.  \nIn time\, we will all disappear from this earth. \nThis is our destiny.  \nWhat will we leave behind? Who will remember us — and for how long?  \nThe mound is a glorious metaphor for the ultimate conclusion of all material manifestations. \nWe cling — consciously or unconsciously to ‘things’ that are endowed with emotional significance — keeping memories alive\, while the uncomfortable awareness of the inevitable moment of departure is held at bay. \n“Annie’s ferocious talent as a songwriter\, her dynamic stage presence\, and her passionate call to social activism make her work cut an exceptionally wide swathe across global culture. We know and admire Annie Lennox’s work in the public sphere\, and there will be sections of this show in which that iconic persona reverberates — sometimes metaphorically\, sometimes sonically\, sometimes stylistically\, and sometimes with just a trace of irony. But juxtaposed against her public face\, as we examine this excavation of remarkably personal objects\, we will come to better understand some of the underlying and more private forces that motivate her work in song\, and her passionately argued campaigns for justice\, global health\, and social equity across gender and race\,” notes MASS MoCA Director Joseph Thompson. \nThe exhibition — part material diary\, part art installation\, and utterly human — is accompanied by a printed “field guide” in which Lennox annotates many of the objects on display\, identifying the objects and adding recollections\, personal stories\, and provenance. \n  \nAbout Annie Lennox\nCelebrated as one of the greatest singer-songwriters of our time\, Dr. Lennox was awarded the Order of the British Empire in 2011 for her work towards the eradication of AIDS and poverty in Africa. She is a Royal Academician\, a respected social activist and philanthropist\, and is the first female Chancellor of Glasgow Caledonian University of her native Scotland. \nAnnie is also founder of The Circle – a not-for-profit organisation that works to support and empower some of the most marginalised women and girls around the globe. \nHer work in the visual arts has included an exhibition at the Victoria and Albert Museum\, London\, The House of Annie Lennox\, which travelled to Manchester\, Aberdeen\, and The National Portrait Gallery of Edinburgh. \nNamed as one of the 100 Greatest Singers of All Time by Rolling Stone Magazine\, Annie Lennox’s musical career now spans over four decades. Her collaboration with partner Dave Stewart formed ‘Eurythmics’ in the early ’80s. \nLennox has also enjoyed a widely celebrated solo career – selling over 83 million albums worldwide\, her song writing and performances have garnered numerous musical accolades\, including: 8 BRIT Awards (including Lifetime Achievement)\, 4 Ivor Novello Awards\, 3 MTV Awards\, 4 Grammy Awards with 10 Grammy nominations\, 26 ASCAP Awards\, a Golden Globe Award\, and an Academy Award. She is the first woman to receive a British Academy of Songwriters Fellowship. \nIn 1986 Lennox became an associate of The Royal Academy of Music\, which was then followed by a Fellowship in 1997 and an Honorary Doctorate in 2017. She has been recognized with doctorates and fellowships from The Royal Scottish Academy of Music and Drama\, Edinburgh College of Art\, the Open University of Scotland\, Essex University\, Williams College\, USA\, and Berklee College of Music\, USA. \nIn 2016 she received a Lifetime Achievement Award from The Musicians’ Company. \n\n\nYou can download a PDF of the exhibition guide here. \n \nFurther Reading\nAnnie Lennox Releases Surprise Piano EP Lepidoptera as New MASS MoCA Exhibition Opens\, People\nAnnie Lennox Cleans House\, The New York Times\nAnnie Lennox makes art from the artifacts of her own sweet dreams\, The Boston Globe \nIn-kind exhibition support is provided by Today Glitter\, Bio-glitter\, and Blue Sun International. Special thanks to Displays2Go. Programming at MASS MoCA is made possible in part by the Barr Foundation\, Horace W. Goldsmith Foundation\, and Mass Cultural Council. \n  \n  \n
URL:https://massmoca.org/event/annie-lennox-now-i-let-you-go/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
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CATEGORIES:Archive Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2019/02/AL_Web_H.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190601T080000
DTEND;TZID=America/New_York:20190831T170000
DTSTAMP:20260405T163352
CREATED:20180921T214318Z
LAST-MODIFIED:20210211T160016Z
UID:30819-1559376000-1567270800@massmoca.org
SUMMARY:Art Ninjas Camp 2019
DESCRIPTION:Art Ninjas embark on daily missions filled with art\, adventure\, and intrigue. Sign up early as space is limited and goes quickly.\nNatural Ninjas\nAug 5-9\nExplore the natural world around you and discover raw materials used to create masterpieces. Natural Ninjas will stealthily make art\, mini-forts\, and mounds from nature’s matter. \nMind Your Mediums\nAug 12-16\nHow many mediums of art have you experimented with? Try out both traditional and wacky mediums from charcoal to porcelain and see what you can create. \nToy Tinkerers\nAug 19-23\nSOLD OUT\nDabble into the world of comics\, storytelling\, and toys in a week filled with art-making activities centered around play and imagination. \nFaraway Galaxy\nAug 26-30\nSOLD OUT\nPrepare to embark on the greatest intergalactic adventure ever seen in a galaxy long ago and far away. Make art\, we will. Remember\, the force is with you. \nCheck out Make Away\, a 5-day artful retreat for adults on August 5-9. Enjoy MASS MoCA while the kids are at camp. \n  \n \nHours\n9am to 3pm \nAfter-camp care is available Monday through Wednesday each week from 3-5pm for an additional fee of $15/day per child. Call the box office at 413.662.2111 to register.\n \nMeals\nMASS MoCA provides a daily healthy snack for campers (included in registration fee). Campers should bring their own lunch or purchase boxed lunches from Lickety Split for an additional fee. Information on boxed lunches is sent the week before camp. \nCancellation policy\nBefore May 30 – Full refund\nBefore June 30 – Partial refund\nAfter June 30 – No refund \nContact\nEmily Ross\, Camp Director at 413.664.4481 x8150 or eross@massmoca.org \nScholarships\nOne full scholarship per camp is available for students from North Adams Public Schools and North Berkshire School Union\, as well as Hoosac Valley\, Morningside\, Conte\, and Capeless Elementary Schools. Email eross@massmoca.org with your child’s name\, age\, school\, camp week(s) preference\, and contact information by April 30 to enter the scholarship lottery. To ensure your spot in camp regardless of receiving a scholarship\, register and you will receive a refund if selected. \n
URL:https://massmoca.org/event/art-ninjas-camp-2019/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
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ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2018/09/Art_Ninjas_2019.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190608T200000
DTEND;TZID=America/New_York:20190608T220000
DTSTAMP:20260405T163352
CREATED:20190409T201957Z
LAST-MODIFIED:20190610T132951Z
UID:33209-1560024000-1560031200@massmoca.org
SUMMARY:Kate Wallich + The YC X Perfume Genius
DESCRIPTION:The Sun Still Burns Here\, a new collaboration by Seattle-based choreographer Kate Wallich and musician/composer Mike Hadreas of the band Perfume Genius\, conjures a spiritual unraveling of romantic decay. Two musicians\, five dancers\, and four designers create a three-dimensional performance that integrates indie rock with contemporary dance.\nWhat to Expect\nSeating is general admission. Preferred Ticket buyers get the best seats in the house\, located in the first rows of theater. Check out some art before the show! Our galleries are stacked with fresh exhibitions. Have dinner nearby! Restaurants abound in downtown North Adams. Or choose from deliciousness right here in our museum campus: Lickety Split Cafe\, Gramercy Bistro\, Bright Ideas Brewing\, and A-oK Berkshire Barbeque. All preferred ticket holders receive free museum admission on the day of or day after the show. MASS MoCA strives to provide the best possible experience for all our visitors\, for information about accessibility at ticketed events click here. \nKate Wallich + The YC X Perfume Genius (The Sun Still Burns Here) is commissioned by Seattle Theatre Group and MASS MoCA and was commissioned and created\, in part\, with the support of The Joyce Theater Foundation’s Artist Residency Center\, made possible with leading support from The Andrew W. Mellon Foundation\, Howard Gilman Foundation\, LuEsther T. Mertz Charitable Trust\, and Doris Duke Charitable Foundation. \nPhoto: Agustin Hernandez \n
URL:https://massmoca.org/event/kate-wallich-the-yc-x-perfume-genius/
LOCATION:Hunter Center
CATEGORIES:Archive,Calendar Page,Performance,Work-in-Progress: Dance,Work-in-Progress: Live Music
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2019/04/Kate_Wallich_and_The_YC_x_Perfume_Genius-1.jpg
END:VEVENT
END:VCALENDAR