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X-WR-CALDESC:Events for MASS MoCA
BEGIN:VEVENT
DTSTART;VALUE=DATE:20050508
DTEND;VALUE=DATE:20290502
DTSTAMP:20260403T190209
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:20260403T190209
CREATED:20150601T224345Z
LAST-MODIFIED:20251031T210703Z
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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:20260403T190209
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
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260403T190209
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
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20090101
DTEND;VALUE=DATE:20261102
DTSTAMP:20260403T190209
CREATED:20150601T234358Z
LAST-MODIFIED:20240921T140558Z
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
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Marshall Street 1040 MASS MoCA Way North Adams 01247;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Art,Current Exhibitions,Exhibition,Ongoing Exhibitions,Sound Art
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/06/HarmonicBridge_Full.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20120526T080000
DTEND;TZID=America/New_York:20320630T170000
DTSTAMP:20260403T190209
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
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/2017/09/Micah-Lexier-featured.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120628
DTEND;VALUE=DATE:20300629
DTSTAMP:20260403T190209
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
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20130927
DTEND;VALUE=DATE:20351117
DTSTAMP:20260403T190209
CREATED:20151015T193323Z
LAST-MODIFIED:20251201T152410Z
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,Exhibition,Ongoing Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/10/Anselm_Kiefer_full.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150501
DTEND;VALUE=DATE:20261102
DTSTAMP:20260403T190209
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
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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:20301002
DTSTAMP:20260403T190209
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:20260403T190209
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:20160307
DTEND;VALUE=DATE:20300501
DTSTAMP:20260403T190209
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:20160528T110000
DTEND;TZID=America/New_York:20261201T170000
DTSTAMP:20260403T190209
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_1").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:20170204T110000
DTEND;TZID=America/New_York:20270101T170000
DTSTAMP:20260403T190209
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:20260403T190209
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:20300430T170000
DTSTAMP:20260403T190209
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:20170501T100000
DTEND;TZID=America/New_York:20260501T170000
DTSTAMP:20260403T190209
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:20170528T080000
DTEND;TZID=America/New_York:20270501T170000
DTSTAMP:20260403T190209
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:20260403T190209
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:20170528T110000
DTEND;TZID=America/New_York:20270501T170000
DTSTAMP:20260403T190209
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_2").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:20290501T170000
DTSTAMP:20260403T190209
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_3").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:20270531T170000
DTSTAMP:20260403T190209
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:20260403T190209
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:20260401T170000
DTSTAMP:20260403T190210
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:20260403T190210
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:20260403T190210
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:20260403T190210
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:20260403T190210
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:20260403T190210
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:20260403T190210
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:20260403T190210
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:20260403T190210
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
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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:20260403T190210
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:20260403T190210
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:20171127T110000
DTEND;TZID=America/New_York:20261101T170000
DTSTAMP:20260403T190210
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:20260403T190210
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:20260403T190210
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:20260403T190210
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:20180119T080000
DTEND;TZID=America/New_York:20361101T170000
DTSTAMP:20260403T190210
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:20260403T190210
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:20181010T110000
DTEND;TZID=America/New_York:20270918T170000
DTSTAMP:20260403T190210
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;TZID=America/New_York:20190920T080000
DTEND;TZID=America/New_York:20290921T170000
DTSTAMP:20260403T190210
CREATED:20190813T190036Z
LAST-MODIFIED:20221107T163734Z
UID:34643-1568966400-1884704400@massmoca.org
SUMMARY:Jenny Holzer
DESCRIPTION:Interested in adding your own sentence to the Truisms posters in this exhibition? A good Truism is short and to the point. Your Truism should read as if it has been in use for a hundred years. \nSubmit your one-sentence\, all-capitalized submission here. \nJenny Holzer’s concise\, often enigmatic\, writings infiltrate public life and consciousness through everyday objects such as T-shirts\, posters\, LED signs\, and benches\, as well as paintings and sculpture. A cross section of these objects is included in Holzer’s new installation\, which spans the artist’s career\, incorporating ephemera\, painted metal signs\, posters and drawings.\nHolzer began installing her Truisms posters — alphabetical lists of concise statements on subjects from money and class to sex and love — throughout downtown New York in 1977. In the decades since\, Holzer’s medium has been words\, inflected by each change in material and context. The same text — ABUSE OF POWER COMES AS NO SURPRISE or PROTECT ME FROM WHAT I WANT — might appear on a baseball hat\, a theatre marquee\, an LED sign in a museum\, or a carved stone bench in a park. Holzer’s newest exhibition focuses on familiar objects that slip across the borders between art and everyday life. \nIn Holzer’s large-scale projections\, which have appeared in over 40 cities in 20 countries\, translucent block lettering is sent onto landscapes and architecture\, creating a sort of ephemeral graffiti that links her early street practice to her long-standing engagement with media and techniques common to news and advertising. Following her monumental projection-based installation in MASS MoCA’s largest gallery\, Building 5\, in 2007 — her first indoor projection in the U.S. — Holzer’s work has been on view in the Robert W. Wilson Building (Building 6) since 2017. Her works at MASS MoCA have included For North Adams\, an outdoor projection on the River Street side of the factory’s complex (summer 2017)\, and the siting of twenty-one of her carved stone benches across MASS MoCA’s sixteen-acre campus. A selection of her stone benches are currently on long-term view throughout the Robert W. Wilson Building; a full list of works currently on view and their locations can be found in the checklist linked below. \nLady Pink x Jenny Holzer\nB6: The Robert W. Wilson Building\, Fl 3\nOn view beginning July 30\nIn the late 1970s and early 1980s\, both Lady Pink and Jenny Holzer infiltrated public spaces in New York with their respective artworks: Lady Pink created large-scale graffiti murals\, while Holzer anonymously pasted posters and applied stickers bearing thought-provoking texts. After meeting circa 1982\, the artists collaborated on a series of paintings combining text by Holzer and imagery by Lady Pink. They have reunited for a new project at MASS MoCA. Much as Holzer’s Truisms and Inflammatory Essays represent a variety of perspectives and philosophies\, the images in Lady Pink’s mural—from memento mori to characters rendered in a style reminiscent of mid-century comic books—reference a range of artistic idioms and histories. Learn more about Lady Pink and the project here. \nAbout the Artist\nFor more than 40 years\, Jenny Holzer has presented her astringent ideas\, arguments\, and sorrows in public places and international exhibitions\, including 7 World Trade Center\, the Venice Biennale\, the Guggenheim Museums in New York and Bilbao\, the Whitney Museum of American Art\, and the Louvre Abu Dhabi. Her medium\, whether formulated as a T-shirt\, a plaque\, or an LED sign\, is writing\, and the public dimension is integral to the delivery of her work. Starting in the 1970s with the New York City posters and continuing through her recent light projections on landscape and architecture\, her practice has rivaled ignorance and violence with humor\, kindness\, and courage. Holzer received the Leone d’Oro at the Venice Biennale in 1990\, the World Economic Forum’s Crystal Award in 1996\, and the U.S. State Department’s International Medal of Arts in 2017. She holds honorary degrees from Williams College\, the Rhode Island School of Design\, the New School\, and Smith College. She lives and works in New York. \nRead more about the texts here. \nView the checklist of indoor works. \nPrincipal exhibition support is provided by Anne and Gregory Avis. Major exhibition support is provided by the VIA Art Fund. Contributing exhibition support is provided by the Barbara Lee Family Foundation. \n \n
URL:https://massmoca.org/event/jenny-holzer/
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/2019/08/jenny_holzer_3840x2400.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191026T080000
DTEND;TZID=America/New_York:20321023T170000
DTSTAMP:20260403T190210
CREATED:20180222T195037Z
LAST-MODIFIED:20221024T183424Z
UID:28087-1572076800-1982163600@massmoca.org
SUMMARY:Sarah Oppenheimer S-334473
DESCRIPTION:Sarah Oppenheimer creates precise instruments for manipulating our built environment–altering our frame of spatial reference\, displacing our experience of inside and out\, and inverting our sense of what is near and far\, here and there.\nS-334473 performs as a dynamic spatial switch: two instruments work in tandem to reorient the exchange of sight and circulation within Building 6. A visitor’s touch sets the work in motion\, pivoting volumes of glass and metal along a 45-degree axis through a defined arc. When vertically oriented\, each instrument nestles between the buildings’ historic columns. Once rotated\, the volumes slip out of alignment and become horizontal reflecting screens. The arcing movement from vertical column to horizontal lintel creates unexpected thresholds and pathways. While manipulating the instruments’ contours and orientation\, visitors walk beneath and around their outermost edges. Sightlines are redirected through the building’s interior spaces\, towards the north-facing windows and onto the Hoosic River and mountains beyond. \nThe rotational axis of the instruments extends through the ceiling onto the floor above\, where the mechanical infrastructure that sets the work in motion is revealed to visitors. The arc of each switch is visible\, creating an index of the instrument’s position below. \nOppenheimer’s S-334473 mobilizes the museum’s architecture in order to transform and extend the visitor’s understanding of the exhibition spaces it reveals\, and disrupts. In the process\, artwork and viewer become joined in an intricate choreography of the inhabited environment. \n \n\njQuery(document).ready(function(){ jQuery("#amw_galleria_slideshow_4").galleria({"dataSource":[{"image":"https:\/\/massmoca.org\/wp-content\/uploads\/2019\/12\/2C6A4430-878x583.jpg"\,"big":"https:\/\/massmoca.org\/wp-content\/uploads\/2019\/12\/2C6A4430-878x583.jpg"\,"thumb":"https:\/\/massmoca.org\/wp-content\/uploads\/2019\/12\/2C6A4430-780x518.jpg"\,"title":"2C6A4430"\,"description":"Sarah Oppenheimer\, S-334473\, 2019 Aluminum\, steel\, glass and existing architecture. Total dimensions variable. Installation view: MASS MoCA. 2019. 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Photo: Richard Barnes."}]\,"width":"auto"\,"height":0.76\,"autoplay":false\,"transition":"slide"\,"initialTransition":"fade"\,"transitionSpeed":0\,"_delayTime":4000\,"_hideControls":false\,"_thumbnailMode":"grid"\,"_captionMode":"on_expand"}); });\n  \nAn opening reception was held on October 26.\nAbout the Artist\nSarah Oppenheimer (b. 1972 in Austin\, TX) received a BA from Brown University in 1995 and an MFA from Yale University in 1999. Recent solo projects include S-281913 (Pérez Art Museum Miami 2016)\, S-334473 (Wexner Center for the Arts 2017)\, S-399390 (Mudam\, Luxembourg 2016)\, 33-D (Kunsthaus Baselland 2014) and W-120301\, an architecturally embedded permanent commission at the Baltimore Museum of Art (2012). Her work has been exhibited at such venues as the Andy Warhol Museum (2012); the Museum of Contemporary Art San Diego (2009); Art Unlimited\, Art Basel (2009); Skulpturens Hus (Stockholm); the Saint Louis Art Museum; the Mattress Factory; the Drawing Center; and the Sculpture Center. She is the recipient of a Rome Prize Fellowship (2011–12)\, a Louis Comfort Tiffany Foundation Fellowship (2009)\, and a Guggenheim Foundation Fellowship (2007). Ms. Oppenheimer is currently a senior critic at the Yale University School of Art. \nPrincipal exhibition support for S-334473 is provided by the Jon & Mindy Gray Family Foundation. Programming at MASS MoCA is made possible in part by the Barr Foundation\, Horace W. Goldsmith Foundation\, and Mass Cultural Council. \nS-334473 was developed with the support of the Wexner Center for the Arts in Columbus\, Ohio. \n  \nSarah Oppenheimer\, S-334473\, 2019\nAluminum\, steel\, glass and existing architecture. Total dimensions variable.\nInstallation view: MASS MoCA. 2019.\nPhoto: Richard Barnes \n
URL:https://massmoca.org/event/sarah-oppenheimer-s-334473/
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,Featured Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2018/02/sarah_oppenheimer_3840x2573.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191101T080000
DTEND;TZID=America/New_York:20321113T170000
DTSTAMP:20260403T190210
CREATED:20201210T130622Z
LAST-MODIFIED:20231127T211348Z
UID:37394-1572595200-1983978000@massmoca.org
SUMMARY:Plan Your Visit
DESCRIPTION:
URL:https://massmoca.org/event/mass-moca-is-open-2/
LOCATION:MA\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2020/12/Webcuts_CarrieWebsite_3840x1524-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191223T080000
DTEND;TZID=America/New_York:20291213T170000
DTSTAMP:20260403T190210
CREATED:20191119T163137Z
LAST-MODIFIED:20200313T140811Z
UID:35466-1577088000-1891875600@massmoca.org
SUMMARY:Reserve NowJames Turrell  Laurie Anderson
DESCRIPTION:
URL:https://massmoca.org/event/james-turrell-and-laurie-anderson-reserve-now/
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200319T080000
DTEND;TZID=America/New_York:20300319T170000
DTSTAMP:20260403T190210
CREATED:20181126T203912Z
LAST-MODIFIED:20250529T182948Z
UID:31696-1584604800-1900170000@massmoca.org
SUMMARY:Martin Puryear Big Bling
DESCRIPTION:Martin Puryear’s monumental sculpture Big Bling has landed for at least the next five years at MASS MoCA. Sited at the museum’s extreme southern perimeter in the heart of the downtown North Adams\, Massachusetts business district\, the sculpture creates a dramatic new connection between MASS MoCA’s 16-acre\, 28-building factory campus and the city’s Main Street business district.\nThe spectacular forty-foot-tall work — the largest temporary installation Puryear has created — is built of wood\, Puryear’s signature material\, and chain-link fence. Through abstract means\, the artist has crafted an ongoing dialogue with history\, art history\, identity\, and politics. Here\, “bling\,” a slang term for flashy jewelry and accessories\, is rooted in the urban youth\, hip-hop\, and rap culture of the 1990s. Originally commissioned for New York City’s Madison Square Park\, the title of the artwork and its initial placement in the heart of Manhattan demonstrate Puryear’s recognition that Big Bling was a reflection of the character and the inhabitants of dense urban environments. Restored and transposed to MASS MoCA’s campus\, the significant scale of the piece in relation the lower-scale and density of a New England factory town changes viewers’ perspective while amplifying the work’s monumental impact. \nIn the studio\, Puryear’s sculpture applies methods gleaned from traditional crafts\, carpentry\, boat building\, and other trades with spare\, exacting stylistic dignity and formal clarity. Unlike his sculptures made from bronze\, iron\, stone\, or carefully assembled from solid wood\, Big Bling is constructed industrially from curved laminated wooden beams and exterior grade plywood\, materials suitable for outdoor building. Instead of the wire mesh and tar that he has sometimes used for the surface of his sculptures\, here Puryear has chosen a quintessentially urban material\, stout chain-link fencing\, to wrap the plywood construction. Metal fences function as makeshift boundaries around empty lots\, construction sites\, and playgrounds\, concurrently protecting property and excluding people. Puryear has posed a similar dilemma in Big Bling: the multi-tiered work suggests an edifice that might be ascended level by level\, but whose entry is blocked by a barrier fence. \nA sleek golden shackle is stationed near the pinnacle of the colossal sculpture. It is anchored near the top of the structure — a shimmering beacon\, a harness that both adorns and restrains the sculptural form. Big Bling is part animal form\, part abstract sculpture\, and part intellectual meditation. \nAbout the Artist\nPuryear earned his BA from Catholic University of America\, Washington\, D.C. in 1963 and his MFA from Yale University in 1971. After serving in the Peace Corps in Sierra Leone (1964–1966)\, he attended the Swedish Royal Academy of Fine Arts (1966–1968). The Museum of Modern Art in New York organized a retrospective of his work in 2007. Puryear has received\, among others\, the Skowhegan Medal for Sculpture (1980)\, a Louis Comfort Tiffany and a MacArthur Foundation Fellowship (1989). He was elected to the American Academy of Arts and Letters (1992) and was awarded an Honorary Doctorate from Yale University (1994). Puryear represented the United States in the 2019 Venice Biennale. The artist lives and works in the Hudson Valley region of New York. \nBig Bling was commissioned by Madison Square Park Conservancy\, New York\, and was exhibited in 2016-17 by Mad. Sq. Art\, the contemporary art program of Madison Square Park Conservancy. \nFurther Reading\nMartin Puryear Big Bling\, Brooklyn Rail \nBig Bling was commissioned by the Madison Square Park Conservancy\, New York. Funding for installation at MASS MoCA was provided in part by the Barr Foundation\, the Horace W. Goldsmith Foundation\, and an anonymous donor. Major exhibition support for the original commission was provided by the Ford Foundation\, Matthew Marks Gallery\, Bloomberg Philanthropies\, The Henry Luce Foundation\, the Jacques & Natasha Gelman Foundation\, J.P. Morgan Securities\, and Unalam of Unadilla\, New York\, with additional support from the National Endowment for the Arts. \nMartin Puryear\nBig Bling\, 2016\nPressure-treated laminated timbers\, plywood\, chain-link fencing\, fiberglass\, and gold leaf\nCourtesy of the artist and Matthew Marks Gallery\, New York \nPhoto: Kaelan Burkett \n
URL:https://massmoca.org/event/martin-puryear-big-bling/
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/2018/11/big_bling_3840x2613_alt.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20201107T100000
DTEND;TZID=America/New_York:20260629T170000
DTSTAMP:20260403T190210
CREATED:20200925T175517Z
LAST-MODIFIED:20250718T142902Z
UID:38721-1604743200-1782752400@massmoca.org
SUMMARY:Richard Nielsen  This is Not a Gag
DESCRIPTION:In March 2020\, Los Angeles-based artist Richard Nielsen began painting portraits of people in their COVID-19 face masks. On view at MASS MoCA\, This is Not a Gag includes his first set of 49 paintings. Presented in a Zoom-like grid\, the series shows the determination behind the eyes of artists\, writers\, and friends of the artist and MASS MoCA. The subject’s faces may be covered\, but variations in masks and individual expressions speak volumes about our lives today. These paintings are not about the pandemic\, per se\, but about the fiercest and finest parts of human nature.\nEarlier in the winter of 2020\, COVID-19 began to spread globally. In the United States\, one after another\, states started to close\, issuing shelter-in-place orders and requiring face masks to be worn in public. Words like isolation\, quarantine\, social distancing\, and pandemic became part of our daily vocabulary\, and teleconferencing became our primary way to connect. \nAs the pandemic grew\, face masks were nearly impossible to find\, so people improvised\, devising creative ways to keep the respiratory droplets at bay. From bandanas and hand-sewn creations to torn T-shirts and heavy-duty construction respirators\, the masks\, made to protect\, also distance\, covering our faces and our expressions. Yet they also acted like micro-billboards\, allowing people to exercise their freedom of speech – with masks signaling “VOTE” or “Black Lives Matter” or “MAGA” – and express their individual style. \nThe impetus for Nielsen’s mask portraits came as he caught his reflection in a gas station window\, realizing his masked face was the new normal. He immediately went home and started taking selfies – stretching his arms to model the social distance bubble that would become all too familiar. He then asked his friends and colleagues to send their own mask selfies for him to paint. His recent works address digital data and image transmission\, with paintings inspired by photographs gathered from friends or social media\, exploring how we relate to representation in the digital age. \nAs the pandemic continued\, masks became political – anti-maskers abounded\, while others took donning masks not only as a smart health move but also as a sign of shared civic responsibility. This added meaning allows Nielsen to imbue his subjects’ personalities and beliefs into their portraits. For Nielsen\, the mask creates an abstract surface on the face\, one that his subjects can use for self-expression\, while also creating a space that he can play with in paint. The images are full of individuality\, showing the essence of each human\, even when we cannot see their whole face. \nWhen Nielsen shared the first images of this series with MASS MoCA’s senior curator\, Denise Markonish\, she started to gather mask selfies from museum employees\, exhibiting artists\, and friends. Nielsen’s paintings are hung in a large grid\, like an epic Zoom call\, a temporarily catalyzed community\, united yet apart. Participants include artists familiar to MASS MoCA such as Nick Cave\, Bob Faust\, Marcos Ramirez ERRE\, Shaun Leonardo\, Mary Lum\, Kim Faler\, and Helga Davis\, alongside writers Phong Bui and Charles Schultz\, MASS MoCA staff\, and Los Angeles artists Lauren Bon\, Tristan Duke\, Suzanne Lacy\, and more. \nNielsen paints with both gesture and assuredness\, capturing a fire in the eyes of his subjects. In the end\, his paintings remind us of human resiliency in a moment when everything feels out of control. \nAbout the artist:\nRichard Nielsen is an artist\, photographer\, and printmaker. With a background in lithography and etching\, his photographic practice is informed by the expanded field of printmaking. Committed to offering printmaking opportunities to established and emerging artists\, Nielsen’s Los Angeles studio\, Untitled Prints & Editions\, has hosted guest artists from around the world. In Los Angeles\, Nielsen has shown his work recently at Lucas Reiner and DENK Galleries and currently has an exhibition at Track 16 Gallery. Additionally\, Nielsen has been a close collaborator with Lauren Bon and her Metabolic Studio since 2007. \nProgramming at MASS MoCA is made possible in part by the Barr Foundation\, Horace W. Goldsmith Foundation\, and Mass Cultural Council. \nRichard Nielsen\, This is Not A Gag\, 2020\nTop row: Bob Faust (artist/designer\, Chicago\, IL); Carly Glovinski (artist\, Dover\, NH); Christine Wertheim (artist\, Los Angeles\, CA/Melbourne\, Australia); Denise Markonish (curator\, MASS MoCA); Erica Wall (gallery director\, MCLA\, North Adams\, MA); Helga Davis (singer/composer\, New York\, NY). Bottom row: Richard Nielsen (artist\, Los Angeles\, CA); Clarence Patton (LGBTQI and POC leadership professional\, Brooklyn\, NY); Nick Bennett (Curatorial assistant\, Brooklyn Rail\, NY); Joe Thompson (Director\, MASS MoCA); Kambui Olujimi (artist\, New York\, NY); Kathryn Pruett (assistant registrar\, MASS MoCA).\nCourtesy of the artist \n
URL:https://massmoca.org/event/richard-nielsen-this-is-not-a-gag/
LOCATION:B6: The Robert W. Wilson Building
CATEGORIES:Archive Exhibitions,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2020/09/20_SU_Webcut_RichardNielsen_3840x1920-1-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20201112T080000
DTEND;TZID=America/New_York:20321113T170000
DTSTAMP:20260403T190210
CREATED:20200610T120540Z
LAST-MODIFIED:20221102T173921Z
UID:37392-1605168000-1983978000@massmoca.org
SUMMARY:Plan Your Visit
DESCRIPTION:
URL:https://massmoca.org/event/mass-moca-is-open/
LOCATION:MA\, United States
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2020/06/RS131497_2019-09-29_Jenny_Holzer_013-1-scaled-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20201119T080000
DTEND;TZID=America/New_York:20321120T170000
DTSTAMP:20260403T190210
CREATED:20200610T120644Z
LAST-MODIFIED:20250407T141937Z
UID:37393-1605772800-1984582800@massmoca.org
SUMMARY:Plan Your Visit
DESCRIPTION:
URL:https://massmoca.org/event/mass-moca-is-open-3/
LOCATION:MA\, United States
CATEGORIES:Exhibition,Homepage
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2020/06/PlanYourVisit_3840x1920-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20201231T180000
DTEND;TZID=America/New_York:20310904T193000
DTSTAMP:20260403T190210
CREATED:20201111T171130Z
LAST-MODIFIED:20211008T152233Z
UID:39043-1609437600-1946316600@massmoca.org
SUMMARY:In Session
DESCRIPTION:This was a virtual event streamed on YouTube and Facebook. Watch a recording of the discussion below: \n \nPresented by MASS MoCA and the Berkshire Cultural Resource Center (BCRC) at MCLA\, In Session is a series of four panel discussions on anti-racist work in museums\, streamed live on MASS MoCA’s YouTube and Facebook. The first two sessions will invite artists\, curators\, and arts administrators to discuss how museums and artists represent Black and Brown trauma in artwork\, exhibitions\, and performances\, and navigate the resulting implications and challenges.\nTune in for the first In Session with artists Nick Cave\, Shaun Leonardo\, Steve Locke\, and Xaviera Simmons. The panel will begin with introductory remarks by Dr. Kalima Young\, and will be moderated by artist M. Carmen Lane.\nDesigned to pose more questions than answers\, topics for this discussion include: What is trauma and what do we mean when speaking of Black trauma? Who holds permission to use images of violence against Black and Brown bodies? Who grants this permission? What are an art institution’s responsibilities toward audiences when hosting work regarding violence enacted against Black and Brown bodies?\nDo any other questions come to mind? Submit your own questions via email to insession@massmoca.org. \nThis series is free and open to the public. \n\nGifts from individuals like you strengthen MASS MoCA’s ability to make programming like this free and accessible. Please consider making a $5 donation here. \n\nAbout the Participants:\nDr. Kalima Young is an Assistant Professor in the Department of Electronic Media and Film at Towson University where she teaches Principles of Film and Media Production and African American Cinema. She received her Ph.D. in American Studies from the University of Maryland\, College Park. Her scholarship explores the impact of race and gender-based trauma on Black identity\, media\, and Black cultural production. \nM. Carmen Lane is a two:spirit African-American and Haudenosaunee (Mohawk/Tuscarora) artist\, writer\, and facilitator living in Cleveland\, Ohio. Lane’s work ranges from experiential educator to diversity practitioner to organizational systems consultant to experimental artist—all of it integrates ancestry\, legacy\, and spirituality\, and pursues expansion\, experimentation\, and play. Lane is founder and director of ATNSC: Center for Healing & Creative Leadership\, an urban retreat center and social practice experiment in holistic health\, leadership development\, Indigenous arts and culture\, and the founder and director of the Akhsótha Gallery located in Cleveland’s historic Buckeye-Shaker neighborhood. \nNick Cave works with choreographers\, dancers\, and amateur performers to produce lavish community celebrations in untraditional venues for art. His “Soundsuits” are displayed in exhibitions as static sculptures\, arranged as groups of figures in formation that are striking in their diversity and powerful stance. Cave’s sculptures also include non-figurative assemblages\, intricate accumulations of found objects that project out from the wall\, and installations enveloping entire rooms. He has had major exhibitions at the Momentary (2020); Carriageworks (2018); MASS MoCA (2016); Cranbrook Art Museum (2015); Saint Louis Art Museum (2014-15); ICA Boston (2014); Denver Art Museum (2013); Fabric Workshop and Museum (2011-12); Seattle Art Museum (2011); and the Yerba Buena Center for the Arts (2009)\, among others. Cave lives and works in Chicago\, IL. \nShaun Leonardo’s multidisciplinary work negotiates societal expectations of manhood\, namely definitions surrounding Black and Brown masculinities\, along with its notions of achievement\, collective identity\, and experience of failure. Leonardo is a Brooklyn-based artist from Queens\, New York City. His work has been featured at The Guggenheim Museum\, The High Line\, and New Museum\, with a recent solo exhibition at Maryland Institute College of Art and now at MASS MoCA. \nSteve Locke is a New York-based artist\, raised in Detroit\, MI. He received an M.F.A. in 2001 from the Massachusetts College of Art and Design and holds Bachelors Degrees from Boston University and MassArt. He attended the Skowhegan School of Painting & Sculpture in 2002. He has been artist-in-residence at the Isabella Stewart Gardner Museum in Boston (2016) and for the City of Boston (2018). He has received grants from The John Simon Guggenheim Foundation\, The Pollock-Krasner Foundation\, The Louis Comfort Tiffany Foundation\, and The Art Matters Foundation. Solo exhibitions include\, there is no one left to blame\, curated by Helen Molesworth for the Institute of Contemporary Art\, Boston\, The School of Love with Samsøñ (Boston\, MA)\, Family Pictures with Gallery Kayafas (Boston\, MA)\, #Killers at YOURS MINE & OURS in New York and most recently Homage to the Auction Block at LaMontagne Gallery in Boston. He contributed an essay to JACOB LAWRENCE-THE AMERICAN STRUGGLE on view at the Metropolitan Museum of Art. He has had solo projects with the Boston Public Library\, the Isabella Stewart Gardner Museum\, Mendes Wood in Sao Paulo\, Brazil\, at VOLTA 5 in Basel\, Switzerland and P.S. Satellites-A Project of Prospect IV in New Orleans. His work has been reviewed in ARTFORUM\, Art in America\, Art New England\, JUXTAPOZ\, The Boston Globe\, and The New Yorker. \nXaviera Simmons’ sweeping body of work includes photography\, performance\, choreography\, video\, sound\, sculpture\, and installation. She received her BFA from Bard College (2004) after spending two years on a walking pilgrimage retracing the Trans-Atlantic Slave Trade with Buddhist Monks. She completed the Whitney Museum’s Independent Study Program in Studio Art (2005) while simultaneously completing a two-year actor-training conservatory with The Maggie Flanigan Studio\, New York. Simmons’ works are in major museums and private collections including The Museum of Modern Art\, New York; Deutsche Bank\, New York; UBS\, New York; The Guggenheim Museum\, New York; The Agnes Gund Art Collection\, New York; The Museum of Contemporary Art\, Chicago; The Studio Museum in Harlem; ICA Miami; Perez Art Museum Miami; The Weatherspoon Art Museum\, Greensboro; The Nasher Museum of Art\, Durham; and The High Museum\, Atlanta\, among many others. Simmons was a visiting lecturer and the Solomon Fellow at Harvard University (2020) and has been awarded The Charles Flint Kellogg Award in Arts and Letters from Bard College this summer. This fall\, and winter 2021\, Simmons will have works on view at Socrates Sculpture Park\, New York\, Times Square NY\, Columbia University\, and The Moody Gallery at Rice University\, among many other exhibitions. \nAbout Berkshire Cultural Resource Center:\nThe Massachusetts College of Liberal Arts’ Berkshire Cultural Resource Center (BCRC) provides opportunities\, resources\, and support to the Northern Berkshire Community. BCRC brings together the Northern Berkshires\, MCLA\, and greater creative communities through its cultural programming including: MCLA Gallery 51\, Downstreet Art\, B-Hip\, and MCLA Presents! BCRC promotes\, facilitates\, and encourages dialogue in order to foster a sustainable creative community. BCRC is a collaborative project of MCLA\, MASS MoCA\, and the City of North Adams. \nWhat to Expect: \n\nThis event will be streamed live on MASS MoCA’s YouTube channel and Facebook page.\nWhile RSVPs are not necessary to watch\, please RSVP to let us know you’ll be tuning in and to receive a reminder email.\n\n\n  \nTop row: Xaviera Simmons\, M. Carmen Lane (photo: Leika)\, and Shaun Leonardo (photo: Vincent Tullo); Bottom row: Steve Locke (photo: Joanna Eldredge Morrissey)\, Dr. Kalima Young\, and Nick Cave (photo: Sandro) \n\n
URL:https://massmoca.org/event/in-session/
LOCATION:YouTube/Facebook
CATEGORIES:Adult Education,Learn,MASS MoCA From Home
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2020/11/20_FA_Webcut_InSession_1920x1920.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210121T180000
DTEND;TZID=America/New_York:20311002T193000
DTSTAMP:20260403T190210
CREATED:20210113T184930Z
LAST-MODIFIED:20211008T152224Z
UID:39431-1611252000-1948735800@massmoca.org
SUMMARY:In Session
DESCRIPTION:This was a virtual event streamed on YouTube and Facebook. Watch a recording of the discussion below: \n \nPresented by MASS MoCA and the Berkshire Cultural Resource Center (BCRC) at MCLA\, In Session is a series of four panel discussions on anti-racist work in museums\, streamed live on MASS MoCA’s YouTube and Facebook. The first two sessions invite artists\, curators\, and arts administrators to discuss how museums and artists represent Black and Brown trauma in artwork\, exhibitions\, and performances\, and navigate the resulting implications and challenges.\nTune in for our second panel on January 21 with museum leaders Lisa Dent\, Executive Director\, Artspace New Haven; Tracy Moore\, Interim Director\, MASS MoCA; Cameron Shaw\, Deputy Director and Chief Curator\, California African American Museum; and Eric Shiner\, Executive Director\, Pioneer Works. The panel will begin with introductory remarks by Dr. Mindy Fullilove\, Social Psychiatrist and Professor\, New School\, and will be moderated by Cecile Shellman\, DEI Museum Consultant. Billy Sanders will provide ASL interpretation.\nDesigned to pose more questions than answers\, topics for this discussion include: Why should art institutions move toward the work of anti-racism and social change? In what ways should museums reflect broader socio-political mandates? What are an art institution’s responsibilities toward BIPOC audiences when hosting challenging work concerning violence enacted against Black and Brown bodies? What is an art institution’s role in providing context (cultural\, art historical\, media\, or otherwise) around a work of art? How and when should artwork on view reflect structural and internal institutional change?\nDo any other questions come to mind? Submit your own questions via email to insession@massmoca.org. \nThis series is free and open to the public. \n\nGifts from individuals like you strengthen MASS MoCA’s ability to make programming like this free and accessible. Please consider making a $5 donation here. \n\nAbout the Participants:\nMindy Thompson Fullilove\, MD\, LFAPA\, Hon AIA\, is a social psychiatrist and professor of urban policy and health at The New School. Since 1986\, she has conducted research on AIDS and other epidemics of poor communities\, with a special interest in the relationship between the collapse of communities and decline in health. From her research\, she has published numerous articles\, book chapters\, and monographs. She has also written: The House of Joshua: Meditations on Family and Place\, Root Shock: How Tearing Up City Neighborhoods Hurts America and What We Can Do About It\, and Urban Alchemy: Restoring Joy in America’s Sorted-Out Cities.  A third edition of Homeboy Came to Orange: A Story of People’s Power\, which she helped her father\, Ernest Thompson\, write\, was released in May 2018 by New Village Press.  She is co-author\, with Hannah L. F. Cooper\, of From Enforcers to Guardians: A public health primer on ending police violence\, issued by Johns Hopkins University Press in January 2020.  Her latest book\, Main Street: How a City’s Heart Connects Us All\, was released in September 2020 by New Village Press.   \nCecile Shellman is a full-time consultant providing diversity\, equity\, accessibility\, inclusion\, and anti-racism services for museums. Her experience includes having worked in a leadership capacity for Carnegie Museums of Pittsburgh\, PA\, heading initiatives at Carnegie Museum of Art\, Carnegie Museum of Natural History\, Carnegie Science Center\, and The Andy Warhol Museum. Selected past appointments include: Director of Visual Arts and Exhibitions at the August Wilson Center for African American Culture\, Program Manager for Pittsburgh Public Schools’ Culturally Responsive Arts Education Initiative\, Education Coordinator at the John F. Kennedy Presidential Library and Museum in Boston\, MA; Director of Education at Heckscher Museum of Art\, Huntington\, New York; and Education Curator at the Museum of Church History and Art\, Salt Lake City\, UT. She holds a CMS from Harvard University and a BFA in Painting from Brigham Young University. She was named an American Alliance of Museums Facing Change Senior Diversity Fellow in 2019\, and she is licensed as a Qualified Administrator for the Intercultural Development Inventory (IDI)\, the premier research-based cultural competence assessment. \nLisa Dent is an advocate for living artists and cultural workers. Her background includes work in film\, theater\, and the visual arts as a curator\, gallerist\, writer\, production designer\, and creative producer. She is the Executive Director of Artspace New Haven in Connecticut\, a nonprofit for contemporary art. Previously\, Dent was the director of resources and award programs at Creative Capital\, leading the financial and advisory services programs\, advising artists on the full realization of their projects. Dent was a Helena Rubenstein Fellow at MoMA and held curatorial staff positions at the New Museum of Contemporary Art\, the Whitney Museum of American Art\, and the Columbus Museum of Art in Ohio. From 2004-08\, Dent owned Lisa Dent Gallery in San Francisco\, CA where she presented the work of emerging and mid-career international artists. She received her BFA from Howard University and her MFA from NYU\, and completed the Whitney Museum Independent Study Program in curatorial studies. \nTracy Moore joined MASS MoCA in 2019 as Deputy Director\, Chief Operations and Finance Officer\, and was appointed MASS MoCA’s Interim Director in October 2020. Moore has over 18 years of experience in contemporary art museum public programming\, community partnerships\, and senior leadership\, working prior to MASS MoCA as the Director of Public Programs and Audience Engagement and then Co-Executive Director of the Aldrich Contemporary Art Museum in Ridgefield\, CT. \nCameron Shaw is the Deputy Director and Chief Curator at the California African American Museum (CAAM) in Los Angeles\, where she guides the curatorial and education departments\, as well as marketing and communications. Shaw was previously the co-founder and executive director of New Orleans-based Pelican Bomb\, a non-profit contemporary art organization that present a forum for exhibitions\, public programs\, and arts journalism. She has worked as a freelance writer and editor since 2008. Her writing frequently focuses on the history of Black art and image practices since 1960\, and has been widely published\, including in The New York Times\, Art in America\, the New Orleans Times-Picayune\, the Los Angeles Review of Books\, and BOMB Magazine\, as well as in numerous books and exhibition catalogues. She was awarded a Creative Capital | Andy Warhol Foundation Arts Writers Grant for Short-Form Writing in 2009 and the Robert Rauschenberg Foundation | Art in America Writing Fellowship in 2015. \nEric Shiner is the executive director of Pioneer Works in Brooklyn\, NY. He was formerly artistic director of White Cube\, New York\, NY\, and senior vice president of contemporary art at Sotheby’s. Prior to this\, Shiner was the director of The Andy Warhol Museum in Pittsburgh\, PA\, from 2010 to 2016\, and was the Milton Fine Curator of Art at The Warhol from 2008 to 2010. A leading scholar on Andy Warhol and Asian contemporary art\, Shiner lived and worked in Japan for a total of six years and was assistant curator on the inaugural Yokohama Triennale in 2001. He has curated dozens of contemporary art exhibitions in cities around the globe and was the team leader on The Warhol Museum’s major Warhol retrospective that traveled to Singapore\, Hong Kong\, Shanghai\, Beijing\, and Tokyo between 2012 and 2014. Notable exhibitions include Andy Warhol | Ai Weiwei in 2015/16\, Deborah Kass: Before and Happily Ever After in 2012\, and Armory Focus: USA at the Armory Show in 2013. \nBilly Sanders credits his love for serving within the Deaf community to his mother\, Debra\, who is Deaf. Having earned both a Bachelor of Science in Business Administration and a Master of Science in Public Administration from Florida Agricultural and Mechanical University\, Billy is currently a doctoral student in the Community College Leadership Program at Morgan State University. A staunch advocate for education\, Billy has taught extensively since 2000 at a myriad of colleges and universities in the subjects of American Sign Language\, Signed Language Systems\, and Strategies for Cross-Cultural Communication. As a nationally certified interpreter\, Billy is a Communications Consultant with Bridges Consulting\, a company he founded over twenty years ago to champion cross-cultural communication through education and empowerment. Additionally\, he is a veteran mentor for College Bound – the pathway-to-college mentorship program for Washington\, DC\, high school students\, an Executive Board Member of Light the Way Foundation\, which hosts an annual summer teen film camp\, and an Executive Board Member for the Friends of the Buea School for the Deaf in Cameroon\, West Africa\, to raise money for the annual operational costs of Cameroon’s premier school for the Deaf. Aside from living out his passion\, Billy loves to spend time with his 21-year old son\, Donovan\, who is a scholar-athlete and social justice advocate attending the University of Virginia. \nAbout Berkshire Cultural Resource Center:\nThe Massachusetts College of Liberal Arts’ Berkshire Cultural Resource Center (BCRC) provides opportunities\, resources\, and support to the Northern Berkshire Community. BCRC brings together the Northern Berkshires\, MCLA\, and greater creative communities through its cultural programming including: MCLA Gallery 51\, Downstreet Art\, B-Hip\, and MCLA Presents! BCRC promotes\, facilitates\, and encourages dialogue in order to foster a sustainable creative community. BCRC is a collaborative project of MCLA\, MASS MoCA\, and the City of North Adams. \nWhat to Expect: \n\nThis event will be streamed live on MASS MoCA’s YouTube channel and Facebook page.\nWhile RSVPs are not necessary to watch\, please RSVP to let us know you’ll be tuning in and to receive a reminder email.\n\n\n  \nTop row: Lisa Dent\, Tracy Moore\, Cameron Shaw (photo: Matt Sayles). Bottom Row: Eric Shiner\, Dr. Mindy Fullilove\, Cecile Shellman. \n\n
URL:https://massmoca.org/event/in-session-2/
LOCATION:YouTube/Facebook
CATEGORIES:Adult Education,Learn,MASS MoCA From Home
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2021/01/21_WSP_Webcuts_InSession2_1920x1920-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210219T080000
DTEND;TZID=America/New_York:20310207T170000
DTSTAMP:20260403T190210
CREATED:20210409T212158Z
LAST-MODIFIED:20211011T145702Z
UID:40793-1613721600-1928250000@massmoca.org
SUMMARY:Slow Looking Meditation
DESCRIPTION:Did you know that the average viewer spends only 10 seconds in front of a work of art? Join us for a slow looking meditation with Wendy Red Star’s Indian Summer – Four Seasons.\n \n  \n\nGifts from individuals like you strengthen MASS MoCA’s ability to make programming like this free and accessible. Please consider making a $5 donation here. \n
URL:https://massmoca.org/event/slow-looking-meditation/
LOCATION:MA
CATEGORIES:Learn,MASS MoCA From Home
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2021/04/RS130015_indian_summerthesis_20x24-lpr.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210303T000000
DTEND;TZID=America/New_York:20300311T000000
DTSTAMP:20260403T190210
CREATED:20210113T195055Z
LAST-MODIFIED:20231127T220353Z
UID:39437-1614729600-1899417600@massmoca.org
SUMMARY:MASS MoCA From Home
DESCRIPTION:Can’t make it here in person? Join us on January 23 as we open the digital doors into our galleries and onto our stages with the launch of an online hub for all (virtual) things MASS MoCA. Explore the Sol LeWitt galleries with an all-new interactive 3D tour\, tune in to community pop-up performances (available to watch for only a limited time as we kick things off!)\, get your creative juices flowing with classic ArtBar specials\, and experience MASS MoCA in a way that’s almost as good as being here.\n
URL:https://massmoca.org/event/mass-moca-from-home/
LOCATION:MA
CATEGORIES:Calendar Page
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2021/01/MMFromHome_19200x1920.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210318T080000
DTEND;TZID=America/New_York:20310306T170000
DTSTAMP:20260403T190210
CREATED:20210312T003139Z
LAST-MODIFIED:20211011T145633Z
UID:40423-1616054400-1930582800@massmoca.org
SUMMARY:A Roundtable  on Black Elegiac Form
DESCRIPTION:
URL:https://massmoca.org/event/a-roundtable-on-black-elegiac-form/
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:Learn,MASS MoCA From Home
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210318T080000
DTEND;TZID=America/New_York:20310301T170000
DTSTAMP:20260403T190210
CREATED:20210312T010907Z
LAST-MODIFIED:20211011T145640Z
UID:40432-1616054400-1930150800@massmoca.org
SUMMARY:In Conversation with Dr. Kimberly Juanita Brown
DESCRIPTION:
URL:https://massmoca.org/event/in-conversation-with-dr-kimberly-juanita-brown/
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:Learn,MASS MoCA From Home
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210318T180000
DTEND;TZID=America/New_York:20311212T193000
DTSTAMP:20260403T190210
CREATED:20210309T215114Z
LAST-MODIFIED:20211008T152243Z
UID:40338-1616090400-1954870200@massmoca.org
SUMMARY:In Session: Artist Residencies
DESCRIPTION:This was a virtual event streamed on YouTube and Facebook. Watch a recording of the discussion below:\n \nPresented by MASS MoCA and the Berkshire Cultural Resource Center (BCRC) at the Massachusetts College of Liberal Arts (MCLA)\, In Session is a series of panel discussions on anti-racist work in museums\, streamed live on MASS MoCA’s YouTube and Facebook. The first two sessions invited artists\, curators\, and arts administrators to discuss how museums and artists represent Black and Brown trauma in artwork\, exhibitions\, and performances\, and navigate the resulting implications and challenges.\nTune in for our third panel on March 18 at 6pm EST with a focus on artist residencies\, co-sponsored by ATNSC (pronounced Ata-en-sic)\, a socially engaged\, artist-run urban retreat\, residency\, and exhibition space in Cleveland\, Ohio. Panelists include bashezo\, CreateWell Fund; Ashley Ferro-Murray\, Curator\, EMPAC; John Spiak\, Director/Chief Curator of Grand Central Art Center Residency at Cal State Fullerton; Erica Wall\, Director of Gallery 51 and BCRC at MCLA; and Sarah Workneh\, Co-Director\, Skowhegan School of Painting & Sculpture. The panel will be moderated by artist and ATNSC’s founder and director M. Carmen Lane. Billy Sanders will provide ASL interpretation.\nDesigned to pose more questions than answers\, topics for this discussion include: Why is there interest in these programs and why do arts leaders and funders support them? What does it look like for institutions to provide space for BIPOC artists to design their own programs? In what ways are artists advocating for their own needs in existing or newly formed residencies? How is an artist residency program a facet of the art industrial complex pipeline that prioritizes one artist’s work over another?\nDo any other questions come to mind? Submit your own questions via email to insession@massmoca.org. \nGifts from individuals like you strengthen MASS MoCA’s ability to make programming like this free and accessible. Please consider making a $5 donation here. \nWhat to Expect: \n\nThis event will be streamed live on MASS MoCA’s YouTube channel and Facebook page.\nWhile RSVPs are not necessary to watch\, please RSVP to let us know you’ll be tuning in and to receive a reminder email.\n\n\n  \n\nAbout the Participants:\nbashezo\,CreateWell Fund (BIPOC artists and arts administrators)\, was born and raised in South Philadelphia\, PA and currently lives in West Medford\, MA. Ze is a non-binary transdisciplinary installation and movement performance creative who blends race and queer theory with African diaspora spiritual traditions and aesthetics. Soil\, textiles\, audio/video elements\, clay\, mesh\, and wood are common materials in zir’s work. These materials are aggregated as a means to create immersive ephemeral 3rd spaces that centralize Black Indigenous PoC queer and trans (QTBIPoC) bodies\, narratives\, and experiences. The core of zir’s work centers on spiritual explorations into/around Blackness\, anti-Blackness\, race\, gender\, sexuality\, trauma\, and healing. \nIn addition to bashezo’s own creative practice\, ze founded Project Resuscitation and co-founded the UnBound Bodies Collective. The objective of both of these curatorial and community-building projects is to shape and hold generative creative spaces that center and amplify the works of QTBIPoC visual and performance creatives along the East Coast. \nAs a member of the CreateWell Fund’s Co-Tending Designer team\, bashezo is currently co-organizing a QT/BIPoC only residency\, Converging Liberations\, at MASS MoCA and recently completed an 18-month partnership with ArtPlace America as an artist-activist assembly member tasked with re|imagining and re|tooling philanthropic processes and practices to recognize and support QT/BIPoC creative spaceholders in MA more equitably. \nAshley Ferro-Murray is a Curator of Theatre and Dance at the Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) at Rensselaer Polytechnic Institute. She also serves on the curatorial board of Body\, Image\, Movement Biennial in Madrid\, Spain\, and the editorial board of TURBA: The Journal for Global Practices in Live Arts Curation. Ferro-Murray’s curatorial practice focuses on expanding historical frames for performance and technology artworks while supporting artist-centered approaches to media. Publications include Chameleonic Survivalism: Jaamil Olawale Kosoko’s ‘Adaptive Strategies and Ways of Being in the World (forthcoming)\, Biological determinism – Evolutionary inertia\, constraints (forthcoming)\, Transborder Immigrant Tool: Choreographic Resistance in the US-Mexican Borderlands\, and Technologies of Performance: Machinic Staging and Corporeal Choreographies. Ferro-Murray holds a PhD in performance studies with emphasis in new media from the University of California\, Berkeley. \nJohn D. Spiak was appointed Director/Chief Curator of California State University Fullerton’s Grand Central Art Center (GCAC)\, Santa Ana\, CA\, in September\, 2011. His curatorial emphasis is on contemporary art and society\, with a focus on works in socially engaged practices and video. Through the GCAC Artist-in-Residence initiative\, GCAC hosts diverse national and international artists as they develop projects\, including Paul Ramirez Jonas\, Adriana Salazar\, Carmen Papalia\, Pablo Helguera\, Lisa Bielawa\, and Yumi Janairo Roth. Prior to his appointment at GCAC\, Spiak was Curator at the Arizona State University Art Museum\, joining that staff in 1994. He initiated the ASU Art Museum residency series Social Studies\, originating project by Julianne Swartz and Ken Landauer\, Jillian McDonald\, Jarbas Lopez\, Josh Green\, Gregory Sale\, and Jennifer Nelson. Through solo exhibitions\, he has worked directly with artists including Pipilotti Rist\, Shirin Neshat\, Brent Green\, Tony de los Reyes\, Kenyatta A. C. Hinkle\, and Aida Šehović. Spiak projects have received support from the British Council\, Polish Cultural Institute\, National Endowment for the Arts (NEA)\, MAP Fund\, and three grants from The Andy Warhol Foundation for the Visual Arts. \nSarah Workneh joined Skowhegan School of Painting & Sculpture as Co-Director in 2010. Prior to her tenure\, Sarah was the Associate Director of Ox-Bow for 8 years. Primarily focused on the educational program\, and off-season programming with alumni\, Workneh leads all efforts to support artists in the expansion of their practices. Understanding the holistic nature of the program\, Workneh oversees the admissions process\, facilities usage\, and expansion under Skowhegan’s Master Plan\, as well as the educational daily life on campus. Workneh has published a variety of texts — most recently an essay on participatory education and a catalog essay on radical education published by the New Museum. She serves on the boards of Colby College Museum of Art\, the Black Lunch Table\, and RAIR in Philadelphia\, and has recently joined the Lake Wesserunsett Association Conservation Committee. In 2020\, she partnered with Linda Goode Bryant and Project EATS to convert an urban farm to a food pantry in Brownsville\, Brooklyn\, NY. \nErica Wall is the Director of the MCLA Berkshire Cultural Resource Center. In her role\, she oversees MCLA’s public art programs and spaces\, including Gallery 51\, DownStreet Art\, and MCLA Presents! Before coming to MCLA\, Wall founded ERICA BROUSSARD GALLERY in 2016 in Orange County\, CA\, and in 2017\, an artists’ residency\, 36 Chase & Barns in North Adams\, MA. Both spaces were dedicated to supporting the creation\, exhibition\, criticism\, and documentation of work by historically underrepresented artists. \nErica’s career started in museum education where she worked at both large and small art institutions\, most notably the Museum of Fine Arts\, Boston\, the Crocker Art Museum\, The Getty Center in Los Angeles\, and the Los Angeles Museum of Contemporary Art (MOCA). Erica is also a previous Smithsonian Fellow and holds a bachelor’s degree from UCLA and a master’s degree in Art Education and Museum Studies from California State University\, Los Angeles. \nM. Carmen Lane is a two:spirit African-American and Haudenosaunee (Mohawk/Tuscarora) artist\, writer\, and facilitator living in Cleveland\, Ohio. Lane’s work ranges from experiential educator to diversity practitioner to organizational systems consultant to experimental artist—all of it integrates ancestry\, legacy\, and spirituality\, and pursues expansion\, experimentation\, and play. Lane is founder and director of ATNSC: Center for Healing & Creative Leadership\, an urban retreat center and social practice experiment in holistic health\, leadership development\, Indigenous arts and culture\, and the founder and director of the Akhsótha Gallery located in Cleveland’s historic Buckeye-Shaker neighborhood. \nBilly Sanders credits his love for serving within the Deaf community to his mother\, Debra\, who is Deaf. Having earned both a Bachelor of Science in Business Administration and a Master of Science in Public Administration from Florida Agricultural and Mechanical University\, Billy is currently a doctoral student in the Community College Leadership Program at Morgan State University. A staunch advocate for education\, Billy has taught extensively since 2000 at a myriad of colleges and universities in the subjects of American Sign Language\, Signed Language Systems\, and Strategies for Cross-Cultural Communication. As a nationally certified interpreter\, Billy is a Communications Consultant with Bridges Consulting\, a company he founded over twenty years ago to champion cross-cultural communication through education and empowerment. Additionally\, he is a veteran mentor for College Bound – the pathway-to-college mentorship program for Washington\, DC\, high school students\, an Executive Board Member of Light the Way Foundation\, which hosts an annual summer teen film camp\, and an Executive Board Member for the Friends of the Buea School for the Deaf in Cameroon\, West Africa\, to raise money for the annual operational costs of Cameroon’s premier school for the Deaf. Aside from living out his passion\, Billy loves to spend time with his 21-year old son\, Donovan\, who is a scholar-athlete and social justice advocate attending the University of Virginia. \nAbout Berkshire Cultural Resource Center:\nThe Massachusetts College of Liberal Arts’ Berkshire Cultural Resource Center (BCRC) provides opportunities\, resources\, and support to the Northern Berkshire Community. BCRC brings together the Northern Berkshires\, MCLA\, and greater creative communities through its cultural programming including: MCLA Gallery 51\, Downstreet Art\, B-Hip\, and MCLA Presents! BCRC promotes\, facilitates\, and encourages dialogue in order to foster a sustainable creative community. BCRC is a collaborative project of MCLA\, MASS MoCA\, and the City of North Adams. \n\nTop row: bashezo\, Ashley Ferro-Murray\, and John Spiak. Bottom Row: Erica Wall\, Sarah Workneh\, and M. Carmen Lane. \n\n
URL:https://massmoca.org/event/in-session-3/
LOCATION:YouTube/Facebook
CATEGORIES:Adult Education,Learn,MASS MoCA From Home
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2021/03/21_WSP_Webcuts_InSession3_1920x1920.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210529T100000
DTEND;TZID=America/New_York:20390531T170000
DTSTAMP:20260403T190210
CREATED:20210224T212825Z
LAST-MODIFIED:20260101T222057Z
UID:39987-1622282400-2190474000@massmoca.org
SUMMARY:James Turrell C.A.V.U.
DESCRIPTION:“I can make the sky any color you choose.” — James Turrell\nThirty years in the making\, James Turrell’s largest free-standing circular Skyspace in North America — titled C.A.V.U. — measures 40 feet in diameter and 40 feet high. This repurposed concrete water tank transforms into one of Turrell’s signature immersive light installations\, carving out a small piece of the sky and framing it as a canvas with infinite depth. C.A.V.U. joins the exhibition Into the Light\, a long-term retrospective of Turrell’s work that currently includes nine light installations\, making MASS MoCA the only North American institution offering a comprehensive overview of the artist’s career.\nC.A.V.U. is open during museum hours with no reservations required. During mid-day\, the dome will be sealed and the space will be transformed into a tightly-controlled multisensory environment\, with light projected across the cylindrical interior walls and domed ceiling\, and sound altered by the contours of the architecture.\n\nC.A.V.U. AT DAWN AND DUSK\n\nLimited reservations for James Turrell: C.A.V.U. (Skyspace) at dawn and dusk are available on a rolling basis. C.A.V.U. is also open during museum hours with no reservations required. \nPhotography is prohibited in C.A.V.U.  \n\nAbout C.A.V.U. at Dawn\n\nPlease arrive promptly by your reservation time\, as entrance doors are locked and latecomers will not be able to enter the museum. After checking in at the Security desk in the front lobby\, visitors begin to walk out to the Skyspace in order to arrive about 35-40 minutes before sunrise. The program ends shortly after the sun rises. At check-in\, you will receive a map that indicates a pathway to the Skyspace. Please follow that path at all times as the rest of the museum is closed. The path is fully accessible\, please contact us at accessibility@massmoca.org if you have any questions before your visit. The light program will begin approximately 30 minutes before sunrise. The program has concluded when the lights turn back to white. Please make your way back to the museum lobby at that time. Please note that the polished granite floors are slippery when wet. For your safety\, please exercise caution when in C.A.V.U. and when traveling the paths to and from the Skyspace. \nThe work is optimally experienced when the sun is just below the horizon—in the liminal period between night and day\, dark and light. As viewers look up at the oculus in the structure’s roof\, the sky’s colors are altered by the artist’s light program inside\, dramatically revealing the relativity of color and perception. The appearance of the sky moves between infinite and flat\, reminiscent of a continuously changing painting\, or at times taking on the appearance of a solid disc—almost close enough to touch. \n\n\n\nAbout C.A.V.U. at Dusk\n\nPlease arrive promptly by your reservation time\, as entrance doors are locked and latecomers will not be able to enter the lobby. After checking in at the Box Office in the front lobby\, visitors walk out to the Skyspace about 5 to 10 minutes before sunset and remain for a half hour or so of twilight. At check-in\, you will receive a map that indicates a pathway to the Skyspace. Please follow that path at all times as the rest of the museum is closed. The path is fully accessible\, please contact us at accessibility@massmoca.org if you have any questions before your visit. The light program will begin at sunset and will run for approximately 30 minutes. The program has concluded when the lights turn back to white. Please make your way back to the museum lobby at that time. Please note that the polished granite floors are slippery when wet. For your safety\, please exercise caution when in C.A.V.U. and when traveling the paths to and from the Skyspace. \nThe work is optimally experienced when the sun is just below the horizon—in the liminal period between day and night\, light and dark. As viewers look up at the oculus in the structure’s roof\, the sky’s colors are altered by the artist’s light program inside\, dramatically revealing the relativity of color and perception. The appearance of the sky moves between infinite and flat\, reminiscent of a continuously changing painting\, or at times taking on the appearance of a solid disc—almost close enough to touch. \n\n\n\nJames Turrell: C.A.V.U. is made possible by the support of an anonymous donor. \nInterior of James Turrell\, C.A.V.U.\, 2021\n© James Turrell\nPhoto by: Arthur Evans \n
URL:https://massmoca.org/event/james-turrell-cavu/
LOCATION:MA\, United States
CATEGORIES:Current Exhibitions,Exhibition,Ongoing Exhibitions
ATTACH;FMTTYPE=image/png:https://massmoca.org/wp-content/uploads/2021/02/Webcuts_CAVU_1920x1920.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210626T000000
DTEND;TZID=America/New_York:20280624T000000
DTSTAMP:20260403T190210
CREATED:20210324T143544Z
LAST-MODIFIED:20251201T151458Z
UID:40527-1624665600-1845417600@massmoca.org
SUMMARY:Taryn Simon The Pipes
DESCRIPTION:Taryn Simon’s large-scale outdoor sculpture The Pipes is on long-term view on the MASS MoCA campus. What began as an oversized concrete instrument for a cacophony of global mourning in Simon’s work An Occupation of Loss (The Armory\, 2016) will be populated by the sounds\, collective call and response\, and movements of a living public. The 11 structures that make up the installation – which Simon designed in collaboration with Shohei Shigematsu of architecture firm OMA – are an immersive experience\, offered to the public as a sacred space for reflection\, impromptu performance\, and stargazing.\nThe Pipes joins MASS MoCA’s growing constellation of long-term outdoor artworks sited throughout the museum’s campus and downtown North Adams\, including works by Jenny Holzer\, Martin Puryear\, James Turrell\, and Franz West. This will be Simon’s second project at MASS MoCA\, following her acclaimed 2018 solo exhibition A Cold Hole + Assembled Audience.\nThe installation of Taryn Simon’s The Pipes at MASS MoCA is made possible in part by the Michael G. and C. Jane Wilson 2007 Trust\, Gagosian Gallery\, Fundación Almine y Bernard Ruiz-Picasso para el Arte\, and David Zicarelli and Virginia Troyer. \nPre-installation view of Taryn Simon\, The Pipes\, 2016|2021 \n
URL:https://massmoca.org/event/taryn-simon-the-pipes/
LOCATION:MA
CATEGORIES:Exhibition,Ongoing Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2021/03/21_SU_Webcuts_ThePipes_1920x.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210809T080000
DTEND;TZID=America/New_York:20310814T170000
DTSTAMP:20260403T190210
CREATED:20210810T003013Z
LAST-MODIFIED:20210810T003214Z
UID:41799-1628496000-1944493200@massmoca.org
SUMMARY:How to Move a Landscape: Collaborations in Art and Climate Science
DESCRIPTION:Blane De St. Croix’s exhibition How to Move a Landscape explores the geopolitical landscape. His research-based practice involves collaborating with writers\, scientists\, and policymakers to imagine cross-disciplinary approaches to art and climate science. This panel took place for MASS MoCA’s Time of Now\, a festival of thought and performance\, and brought together De St. Croix with Dr. Julie Brigham-Grette\, a professor in the Department of Geosciences\, University of Massachusetts\, Amherst; and Tatiana Schlossberg\, an award-winning journalist and former New York Times science writer; and is moderated by New York-based writer and critic and senior editor of Cabinet magazine\, Jeffrey Kastner.\n \n
URL:https://massmoca.org/event/how-to-move-a-landscape-collaborations-in-art-and-climate-science/
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:Adult Education,Learn,MASS MoCA From Home
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2021/05/21_SU_Webcuts_MemberOpening_1920x1920.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20211007T180000
DTEND;TZID=America/New_York:20311009T200000
DTSTAMP:20260403T190210
CREATED:20210908T134517Z
LAST-MODIFIED:20211011T145449Z
UID:42008-1633629600-1949342400@massmoca.org
SUMMARY:3 Familiar Views from/at the USA-Mexico Border
DESCRIPTION:This was a virtual event streamed on MASS MoCA’s YouTube channel. Watch a recording of the discussion below: \n \nExhibiting artist Marcos Ramírez ERRE is joined in conversation by his two brothers: poet and visual artist Omar Pimienta and Professor Juan Carlos Ramírez-Pimienta\, an expert on border culture\, as well as the narcocorrido—a genre of ballad inspired by the drug trade. Together they share their intimate knowledge of transnationality and the rich culture of the border region\, bringing us a fuller picture of the USA-Mexico border and its development since the 80s through family stories from the Colonia Libertad neighborhood of Tijuana and their varied artistic and academic studies.\nMarcos Ramírez ERRE’s exhibition THEM AND US / ELLOS Y NOSOTROS is on view now through October 24\, 2021. Explore in person or virtually through a 3D gallery tour. \nWhat to Expect: \n\nThis event will be streamed live on MASS MoCA’s YouTube channel.\nWhile RSVPs are not necessary to watch\, please RSVP to let us know you’ll be tuning in and to receive a reminder email.\n\nGifts from individuals like you strengthen MASS MoCA’s ability to make programming like this free and accessible. Please consider making a $5 donation here. \nMajor exhibition support for THEM AND US / ELLOS Y NOSOTROS is provided by Fenner Milton and the Oceanside Museum of Art and Michael Krichman & Carmen Cuenca. Contributing support is provided by Hugh Davies & Faye Hunter and James Robbins. Programming at MASS MoCA is made possible in part by the Barr Foundation\, Horace W. Goldsmith Foundation\, and Mass Cultural Council. \n  \n
URL:https://massmoca.org/event/3-familiar-gazes-from-at-the-usa-mexico-border/
LOCATION:YouTube
CATEGORIES:Adult Education,Learn,MASS MoCA From Home
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2021/09/21_FA_Webcuts_3FamiliarGazes_1920.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220321T190000
DTEND;TZID=America/New_York:20260323T200000
DTSTAMP:20260403T190210
CREATED:20220309T185126Z
LAST-MODIFIED:20221117T164827Z
UID:43737-1647889200-1774296000@massmoca.org
SUMMARY:Radical Particularities of Care Maggie Nelson in Conversation with Marc Swanson
DESCRIPTION:Celebrating the launch of the CARE SYLLABUS module I Can’t: Feeling Through Burdens of Care\, this virtual event brought together the writer Maggie Nelson and MASS MoCA exhibiting artist Marc Swanson for a night of conversation following the recent publication of Nelson’s book\, On Freedom: Four Songs of Care and Constraint (Graywolf Press\, 2021)\, and Swanson’s new exhibition\, A Memorial to Ice at the Dead Deer Disco.\n \nThis event was live-streamed on MASS MoCA’s YouTube channel and is free for all.\nWith anecdotes from art and life\, this conversation draws attention to the particularities of care as they arise in nuanced relation to the labors and limits of artistic creation and interpretation. When the rally cry of care sounds far and wide\, where do we focus our energies? What role\, if any\, might art—and artistic engagement—play in navigating our capacities to give and receive care? In their discussion\, Nelson and Swanson will touch on shared investments evident in their recent works\, which explore connections between queer experience\, alternative understandings of time\, and climate crisis. \nAbout CARE SYLLABUS\nLaunched by MCLA and MASS MoCA\, CARE SYLLABUS is a justice-oriented public education and community resource featuring original text\, visual media\, recordings\, and virtual events by activists\, artists\, and academics. For more information about CARE SYLLABUS head to caresyllabus.org. \nCARE SYLLABUS is a project of THE MIND’S EYE—a research and praxis initiative of MCLA in collaboration with MASS MoCA. \n
URL:https://massmoca.org/event/radical-particularities-of-care-maggie-nelson-in-conversation-with-marc-swanson/
LOCATION:YouTube
CATEGORIES:Learn,MASS MoCA From Home
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2022/03/22_WSP_Webcuts_SwansonNelson_1920-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220503T080000
DTEND;TZID=America/New_York:20320503T170000
DTSTAMP:20260403T190210
CREATED:20221128T144521Z
LAST-MODIFIED:20221128T144822Z
UID:46952-1651564800-1967216400@massmoca.org
SUMMARY:Artist Talk: Angélique Kidjo on the making of Yemandja
DESCRIPTION:
URL:https://massmoca.org/event/artist-talk-angelique-kidjo-on-the-making-of-yemandja/
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:Made at MASS MoCA,MASS MoCA From Home
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220602T080000
DTEND;TZID=America/New_York:20320602T170000
DTSTAMP:20260403T190210
CREATED:20220426T142223Z
LAST-MODIFIED:20221216T145409Z
UID:44518-1654156800-1969808400@massmoca.org
SUMMARY:Please\, Touch the Exhibit: Gunnar Schonbeck and MASS MoCA's No Experience Required
DESCRIPTION:
URL:https://massmoca.org/event/lily-cox-richard-examines-materiality-reuse-and-the-value-of-objects/
LOCATION:MA
CATEGORIES:Learn,MASS MoCA From Home
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220616T080000
DTEND;TZID=America/New_York:20320616T170000
DTSTAMP:20260403T190210
CREATED:20221216T150639Z
LAST-MODIFIED:20221216T150639Z
UID:47058-1655366400-1971018000@massmoca.org
SUMMARY:Redrawing Sol LeWitt's Wall Drawing #1211
DESCRIPTION:
URL:https://massmoca.org/event/redrawing-sol-lewitts-wall-drawing-1211/
LOCATION:MA
CATEGORIES:Made at MASS MoCA,MASS MoCA From Home
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220815T080000
DTEND;TZID=America/New_York:20320815T170000
DTSTAMP:20260403T190210
CREATED:20221216T151809Z
LAST-MODIFIED:20221216T151809Z
UID:47061-1660550400-1976202000@massmoca.org
SUMMARY:Graduate Fellow curates their first exhibition about using dance to resist\, heal\, and connect
DESCRIPTION:
URL:https://massmoca.org/event/graduate-fellow-curates-their-first-exhibition-about-using-dance-to-resist-heal-and-connect/
LOCATION:MA
CATEGORIES:Learn,MASS MoCA From Home
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220901T080000
DTEND;TZID=America/New_York:20320901T170000
DTSTAMP:20260403T190210
CREATED:20221216T144356Z
LAST-MODIFIED:20221216T144356Z
UID:47052-1662019200-1977670800@massmoca.org
SUMMARY:Lily Cox-Richard examines materiality\, reuse\, and the value of objects
DESCRIPTION:
URL:https://massmoca.org/event/lily-cox-richard-examines-materiality-reuse-and-the-value-of-objects-2/
LOCATION:MA
CATEGORIES:Made at MASS MoCA,MASS MoCA From Home
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220919T080000
DTEND;TZID=America/New_York:20320919T170000
DTSTAMP:20260403T190210
CREATED:20221128T141839Z
LAST-MODIFIED:20221128T142113Z
UID:46948-1663574400-1979226000@massmoca.org
SUMMARY:Sundance Institute Look Back
DESCRIPTION:
URL:https://massmoca.org/event/sundance-institute-look-back/
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:Made at MASS MoCA,MASS MoCA From Home
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20221107T080000
DTEND;TZID=America/New_York:20321107T170000
DTSTAMP:20260403T190210
CREATED:20221216T152803Z
LAST-MODIFIED:20221216T152803Z
UID:47064-1667808000-1983459600@massmoca.org
SUMMARY:Amy Hauft on creating at MASS MoCA
DESCRIPTION:
URL:https://massmoca.org/event/amy-hauft-on-creating-at-mass-moca/
LOCATION:MA
CATEGORIES:Learn,MASS MoCA From Home
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20221109T080000
DTEND;TZID=America/New_York:20321109T170000
DTSTAMP:20260403T190210
CREATED:20221216T154315Z
LAST-MODIFIED:20221216T154315Z
UID:47070-1667980800-1983632400@massmoca.org
SUMMARY:Jeff Tweedy on MASS MoCA
DESCRIPTION:
URL:https://massmoca.org/event/jeff-tweedy-on-mass-moca/
LOCATION:MA
CATEGORIES:Made at MASS MoCA,MASS MoCA From Home
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20221116T080000
DTEND;TZID=America/New_York:20321116T170000
DTSTAMP:20260403T190210
CREATED:20221209T181226Z
LAST-MODIFIED:20221209T182155Z
UID:47016-1668585600-1984237200@massmoca.org
SUMMARY:Sam Green on making a sonic spectacular
DESCRIPTION:
URL:https://massmoca.org/event/i-dont-know-where-else-i-would-ever-do-this-sam-green-on-making-a-sonic-spectacular-a-mass-moca/
LOCATION:MA
CATEGORIES:Made at MASS MoCA,MASS MoCA From Home
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20221122T080000
DTEND;TZID=America/New_York:20321122T170000
DTSTAMP:20260403T190210
CREATED:20221209T180654Z
LAST-MODIFIED:20221209T181944Z
UID:47013-1669104000-1984755600@massmoca.org
SUMMARY:esperanza spalding in residence
DESCRIPTION:
URL:https://massmoca.org/event/theres-something-deeply-helpful-about-working-on-the-story-here-esperanza-spalding-on-mass-moca/
LOCATION:MA
CATEGORIES:Made at MASS MoCA,MASS MoCA From Home
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20221129T080000
DTEND;TZID=America/New_York:20321129T170000
DTSTAMP:20260403T190210
CREATED:20221209T182533Z
LAST-MODIFIED:20221209T182533Z
UID:47022-1669708800-1985360400@massmoca.org
SUMMARY:Maxine Lyle in residence
DESCRIPTION:
URL:https://massmoca.org/event/maxine-lyle-in-residence/
LOCATION:MA
CATEGORIES:Made at MASS MoCA,MASS MoCA From Home
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230103T080000
DTEND;TZID=America/New_York:20430103T170000
DTSTAMP:20260403T190210
CREATED:20200608T160105Z
LAST-MODIFIED:20260321T133401Z
UID:37231-1672732800-2303917200@massmoca.org
SUMMARY:Museum Admission Advance tickets recommended
DESCRIPTION:MUSEUM ADMISSION \nAdvance tickets are recommended for all museum visitors to skip the line. Walk-ups are always welcome. \nAdults: $25\nSeniors (65+) / Veterans: $22\nStudents with ID: $15\nKids (6-16): $10\nChildren 5 and under: FREE\nAdmission to Kidspace: FREE \nIn-person discounts are available\, check to see if you are eligible. \nFor museum hours and information on public tours\, click here. \nMASS MoCA MEMBERS\nMuseum admission is always free for MASS MoCA members; members can reserve their free admission tickets before arriving by logging in. \nNot yet a member? Become one here. \nJAMES TURRELL: INTO THE LIGHT\nInto the Light is a multi-decade retrospective of several James Turrell works. 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. \nMake Perfectly Clear and Hind Sight reservations here. \nJAMES TURRELL: C.A.V.U. (Skyspace) \nJames Turrell’s C.A.V.U. is open during museum hours with no reservations required. The work is optimally experienced when the sun is just below the horizon—in the liminal period between day and night\, light and dark. Limited reservations to view at dawn and dusk are available on a rolling basis. \nCheck availability for dawn and dusk reservations. \nLAURIE ANDERSON\nLaurie Anderson continues to invite viewers to explore a multi-functional constellation of galleries and installations with an evolving rotation of works. Please note that Chalkroom and To the Moon virtual reality experiences have been retired. \nKIDSPACE\nKidspace\, MASS MoCA’s creative laboratory that inspires curiosity in the arts for all\, is always free with no reservations required. \nPUBLIC PROGRAMS\nMASS MoCA offers a variety of opportunities to deepen engagement with its visual and performing arts programming that are often included with gallery admission. View the calendar of events here. \nPERFORMING ARTS\, FESTIVALS AND SPECIAL EVENTS\nTickets for performances\, festivals and special events are not included with gallery admission and can be purchased from the event listings on our website. View the full calendar of events here. \nENJOY MASS MoCA & NORTH ADAMS\nNo visit to MASS MoCA is complete without checking out our artist-inspired retail stores and delicious food and drink options. See a full list here. \nAnd be sure to check out more art – including Martin Puryear’s monumental Big Bling sculpture – parks\, shops\, and restaurants throughout our beloved hometown\, North Adams\, MA. Learn more. \n  \n
URL:https://massmoca.org/event/museum-tickets/
LOCATION:MA\, United States
CATEGORIES:Calendar Page
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2020/05/RS28782_PH6A2704-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240615T080000
DTEND;TZID=America/New_York:20260521T170000
DTSTAMP:20260403T190210
CREATED:20231102T141823Z
LAST-MODIFIED:20250930T194452Z
UID:50577-1718438400-1779382800@massmoca.org
SUMMARY:Carly Glovinski Almanac
DESCRIPTION:Rooted in observation and fueled by a curiosity about the history of objects and handicraft processes\, Carly Glovinski makes work that explores the make-do\, resourceful attitudes associated with domestic craft and a reverence for nature. The elements of time and place are embedded in work that mines her surrounding coastal New Hampshire and Maine environment for inspiration and looks to the repetitive cycles of seasonal blooms and celestial orbits.\nMost recently\, Glovinski has created installations based on varieties of flowers that she grows in her own garden or has collected from friends and travel. Often used as ceremonial markers\, flowers are present at events both good and bad: to celebrate\, to mourn\, to apologize\, and to offer love\, joy\, comfort\, and healing. Almanac is Glovinski’s largest pressed flower work to date. Spanning 100-feet\, the work envisions the late April through mid-September northeastern New England growing season\, through hundreds of painted and cut out blooms of dozens of flower varieties: cold hearty daffodils\, violas\, and bleeding hearts\, to irises\, Queen Anne’s lace\, morning glories\, and cosmos. By observing\, tending\, and preserving these flowers\, the installation becomes a visual record of time and seasons passing\, as well as a commentary on the labor of care. \nPurchase related books & editions from the Research & Development Store online here. \nAbout the Artist: \nCarly Glovinski received her BFA from Boston University in 2003 and is represented by Morgan Lehman Gallery in New York. She has been awarded residencies at Surf Point Foundation in 2021\, and the Canterbury Shaker Village in 2020\, and grants from the New Hampshire Charitable Foundation\, the Berkshire Taconic Community Foundation\, and the Blanche Colman Trust. Selected exhibitions include Farnsworth Art Museum\, Maine; The Global Center for Circular Economy and Culture\, Delphi\, Greece; Colby Museum of Art\, Maine; Morgan Lehman Gallery\, NY\, Richard Heller Gallery\, LA; the Center for Maine Contemporary Art. Her work has been in major publications such as New American Paintings\, ArtMaze Magazine\, Hyperallergic\, Colossal\, and Vice\, and is held in numerous public collections including Colby Museum of Art\, Farnsworth Art Museum\, Fidelity Investments\, Cleveland Clinic\, and Bank of America. Carly currently lives and works in New Hampshire. \nCarly Glovinski\, Almanac\, 2024\, Installation view\nAcrylic on Mylar\nCourtesy of the artist and Morgan Lehman Gallery\nPhoto: Julia Featheringill \n
URL:https://massmoca.org/event/carly-glovinski-almanac/
LOCATION:Hunter Hallway
CATEGORIES:Current Exhibitions,Exhibition
ATTACH;FMTTYPE=image/png:https://massmoca.org/wp-content/uploads/2024/09/Webcuts_Sep2024_CarlyGlovinski_view_1920-x-1920.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241103T100000
DTEND;TZID=America/New_York:20260907T170000
DTSTAMP:20260403T190210
CREATED:20240219T195927Z
LAST-MODIFIED:20260310T193053Z
UID:52201-1730628000-1788800400@massmoca.org
SUMMARY:Jeffrey Gibson POWER FULL BECAUSE WE’RE DIFFERENT
DESCRIPTION:Jeffrey Gibson’s POWER FULL BECAUSE WE’RE DIFFERENT is a newly commissioned immersive installation filling MASS MoCA’s signature Building 5 gallery that follows Gibson’s highly celebrated United States representation at the 60th edition of La Biennale di Venezia. Gibson is known for creating installations\, performances\, paintings\, and sculpture that elevate and provide visibility to queer and Indigenous communities\, whose cultural narratives have been historically marginalized. Throughout the run of the exhibition\, the project will host a series of performances by Indigenous creatives from across North America.\nUpcoming artist engagements with Gibson’s installation will include:\ndevynn emory: boiling rain – Saturday\, January 24\, 4pm (Building 5)\nBlack Belt Eagle Scout and Mato Wayuhi with Ailani – Saturday\, February 7\, 8pm (Club B10)\nEmily Johnson / Catalyst: YOUR HONOR\, a care procession – Saturday\, April 11\, 4pm (Building 5) \nGibson views the exhibition as an invitation to other Indigenous creatives to contribute to a space where difference is not only considered\, it is celebrated. The installation features seven aspirational and newly constructed oversized garments\, which are adorned with beads and found materials\, that have been organized in kaleidoscopic patterns and are suspended from the ceiling on tipi poles or worn during performances. These works are informed by various faith-based regalia and club culture — paying homage to the past while signaling hope for the future. \nPOWER FULL BECAUSE WE’RE DIFFERENT also offers an exploration into the term “two-spirit”\, a third gender which is both\, and neither\, male or female and is often embraced by many Indigenous individuals and communities to encompass gender and spiritual identity. The exhibition will include the 1992 documentary Two Spirit People by Michel Beauchemin\, Lori Levy\, and Gretchen Vogel\, which features Indigenous two-spirit individuals discussing the term and their identities as creatives on the streets of the Bay Area. \nA new video installation\, suspended from the ceiling\, will accompany the documentary harnessing both contemporary and early drag culture that facilitates in creating a club-like atmosphere in the first half of the gallery. Titled Your Spirit Whispers in My Ear (2024)\, the collection of videos are edited by Sancia Miala Shiba Nash with a soundtrack by Patrick “Reachout” Coll and the material for the videos is crowd-sourced from more than 20 Indigenous two-spirit individuals\, DJs\, drag performers\, academics\, and activists. \nA mirrored\, multi-colored wall bisects the gallery space\, end-to-end and floor-to-ceiling reflecting the videos and other works in the galleries creating a kaleidoscopic vision for visitors. Seven\,12×12-foot fused glass performance stages with graphic geometric designs further amplify the experience. Each of the oversized garments will be suspended from the ceiling above its corresponding dance floor\, and all seven will be distributed on both sides of the wall. These stages will be the site of many of the performances that will unfold throughout the 18-month exhibition. \nThe exhibition is book-ended in two mezzanine galleries. The lower space contains a new two-channel video depicting Gibson wearing all seven garments in the exhibition\, almost unaware of the camera\, yet still conscious of being seen. This new video is inspired by legendary performer Leigh Bowery\, a longtime influence for Gibson’s work. In particular\, Gibson is channeling Bowery’s 1988 performance at the Anthony D’Offay Gallery in London\, in which Bowery took up residence in the gallery’s street facing window behind a one way mirror. Each day Bowery tried on different costumes while preening and posing. Though the audience could see him\, Bowery could only see himself raising the question of revealing and concealing one’s presence. The upper space will contain a resource space curated with Gibson and Antonia Oliver at the artist’s studio presented in three iterations over the 18-month exhibition; this space will open with a focus on videos\, costumes\, and texts by Two-Spirit contributors to Gibson’s exhibition. \nPOWER FULL BECAUSE WE’RE DIFFERENT collaborators include program contributors Laura Ortman\, Emily Johnson\, Martha Redbone\, Lou Cornum\, Divide and Dissolve\, Arielle Twist\, Zoon\, Raven Chacon\, devynn emory\, MX Oops and more\, and video contributors Sean Stevens and Adrian Snyder\, Ty Fierce\, Metteba Navi Ho\, Carla Rossi / Anthony Hudson\, Joseph Pierce\, Miko Thomas\, Morgan Wallace\, Arielle Twist\, Lou Cornum\, Kairyn Potts\, Lady Shug\, Beejee (Qahir-beejee Llaneza) Peco\, Cocoa Chandelier\, Jontay Kahm\, Dan Taulapapa McMullin\, Razelle Benally\, Hulleah Tsinhnahjinnie\, Yoli\, Hinaleimoana Wong-Kalu\, Charlie Amáyá Scott\, Kira Xonorika\, Evan James Atwood\,Theo Jean Cuthand and others. \nPrior to the exhibition opening at MASS MoCA\, Gibson will reveal a new mural in collaboration with The Rose Kennedy Greenway in Dewey Square\, Boston\, MA\, on view since September 19\, 2024. \nJeffrey Gibson Resource Room\nExplore fresh insights into Jeffrey Gibson’s B5 commission POWER FULL BECAUSE WE’RE DIFFERENT with new content added to the exhibition’s Resource Room. Additions focus on highlighting the many contributors to the exhibition\, including the Indigenous creatives Gibson invited to create the five-channel video Your Spirit Whispering in My Ear. \nPurchase related books & editions from the Research & Development Store online here. \nAbout the Artist:\nJeffrey Gibson (b. 1972\, Colorado Springs\, CO; lives and works in New York) grew up in major urban centers in the United States\, Germany\, Korea\, and the U.K. A mid-career multidisciplinary artist\, he is a citizen of the Mississippi Band of Choctaw Indians and half Cherokee\, whose practice includes sculpture\, painting\, printmaking\, video\, and performance. Gibson earned his Master of Arts in painting at the Royal College of Art\, London\, in 1998 and his Bachelor of Fine Arts in painting from the School of the Art Institute of Chicago in 1995. His work is in the permanent collections of the Denver Art Museum; Museum of Fine Arts\, Boston; Smithsonian Institution’s National Museum of the American Indian; National Gallery of Canada; Crystal Bridges Museum of American Art; the Museum of Modern Art; and the Whitney Museum of American Art. Gibson is a past TED Foundation Fellow and a Joan Mitchell Grant recipient. He is a recipient of the 2019 MacArthur Foundation Fellowship. He is an artist-in-residence at Bard College and lives and works near Hudson\, New York. Gibson currently represents the United States at the 60th edition of La Biennale di Venezia. He is the first Indigenous artist to represent the United States with a solo presentation in the national pavilion. \n\nEXHIBITION TEXTS\n\nEnglish Wall Text\nTexto Descriptivo Español \nEnglish Gallery Guide\nGuía de Galería Español \nEnglish Object Labels\nEtiquetas de Objetos Español \n\nDownload a PDF of the exhibition gallery guide here. \nSupport for this exhibition is provided by the Henry Luce Foundation; The Andy Warhol Foundation for the Visual Arts; the National Endowment for the Arts; the Coby Foundation\, Ltd.; the Emily Hall Tremaine Foundation; the Mellon Foundation; The Endeavor Foundation; Nicole Deller and Matt Bliwise; and Stuart and Lisa Ginsberg in memory of their aunt\, Marilyn Eber. This project was supported by a grant from the Artist’s Resource Trust. In-kind support was provided by Decorative Films. \n  \n   \n  \n  \nInstallation view: Jeffrey Gibson: POWER FULL BECAUSE WE’RE DIFFERENT\, as installed at MASS MoCA\, November 2024. Photo: Tony Luong \n
URL:https://massmoca.org/event/jeffrey-gibson-2024/
LOCATION:Building 5
CATEGORIES:Current Exhibitions,Exhibition
ATTACH;FMTTYPE=image/png:https://massmoca.org/wp-content/uploads/2024/11/Webcuts_Nov2024_Gibson-install1_1920-x-1920.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251018T100000
DTEND;TZID=America/New_York:20261017T170000
DTSTAMP:20260403T190211
CREATED:20250506T192530Z
LAST-MODIFIED:20251212T125251Z
UID:59416-1760781600-1792256400@massmoca.org
SUMMARY:Jimena Sarno Rhapsody
DESCRIPTION:Jimena Sarno engages craft traditions to imagine a future built on values of collectivity\, reconfiguration\, and repair. For Rhapsody\, the title of the exhibition and the installation at its core\, Sarno collaborated with artists\, teachers\, and makers\, most of whom are from the Global South\, combining filmmaking\, sound\, and sculpture with contemporary and traditional craft practices. Within a global context of extreme violence\, fragmentation\, and destruction\, the artists share time\, space\, and resources to deepen solidarity through making\, repairing\, and the collective production of alternative forms of knowledge. Sarno’s project is framed as an alternative to Modernism’s utilization of cultural production as a tool to imagine utopian futures while reinforcing global systems of coloniality. The central installation features a group of objects made using techniques — including weaving\, felting\, woodworking\, and pottery — that rely on bodies of knowledge passed from maker to maker. These objects are tools — at once utilitarian and utopian — designed for a hoped-for\, not-so-distant future built on solidarity and mutual care.\nThis assemblage of domestically scaled\, speculative tools made by more than a dozen artists underscores the significance of interdependence and collectivity. Displayed on portable tables\, these objects cast shadows across a 100-foot-long film projection that interlaces footage of Sarno learning to weave and the landscapes that were the backdrop to her process. Sarno traveled to Perú and Argentina (where she was born) to study weaving within the context of Andean cosmology and tradition\, in which textiles are bearers of information. Sarno notes\, “The loom functions as a narrative space\, and weaving as a metaphor for the interconnectedness of all beings. For Rhapsody\, I have transposed this generative space into a monumental projection\, in which film montage echoes the weaving process.” Sarno’s film is accompanied by changing soundscapes composed by collaborators including Dirar Kalash and Mhamad Safa. \nThe exhibition brings together 3 additional works\, including a textile and text library\, along with two installations incorporating film\, sound\, and sculpture. A Life in the Forest is gradually built with the accumulation of objects restored in repair workshops. Las Tres Gracias interrogates imperialism and the myth of democracy through creation legends and Third World poetry. The exhibition title references the multiple definitions of a rhapsody\, including the musical composition characterized by improvisation as well as the epic poem and its Greek root\, rhapsode\, meaning someone who stitches or sews songs together. The collaborations and ongoing reconfigurations of Sarno’s installation\, including the addition of new works over the course of the exhibition\, contribute to the rhapsodic sense of weaving together changing elements\, which will remain in flux\, mobile and uncertain. The contributions by Sarno\, her collaborators\, and community members emphasize our shared responsibility for repairing a broken-down present as we defend our future. \nAbout the Artist:\nJimena Sarno is an interdisciplinary artist and educator born in Buenos Aires\, Argentina\, and based in Los Angeles. With a focus on the sensorial and affective experiences shaped by political subjecthood\, she works across a range of media including installation\, sound\, video\, text\, and sculpture. Her work has been exhibited in solo and group exhibitions at MASS MoCA (Kissing through a Curtain\, 2020); REDCAT\, Los Angeles; Vincent Price Art Museum\, Monterey Park\, California; Clockshop\, Los Angeles; 18th Street Arts Center\, Santa Monica; LACE\, Los Angeles; Visitor Welcome Center\, Los Angeles; Museum of Latin American Art\, Long Beach\, California; Mistake Room\, Los Angeles; Human Resources\, Los Angeles; PØST\, Los Angeles; UCI Contemporary Art Center\, Irvine\, California; Grand Central Art Center\, Santa Ana\, California; Control Room\, Los Angeles; San Diego Art Institute; Luminary\, St. Louis\, Missouri; Centro Galego de Arte Contemporánea de Santiago De Compostela\, Spain; among others. Her work has been supported by the California Arts Council Individual Fellowship\, the California Community Foundation Fellowship for Visual Artists\, the Foundation for Contemporary Art Emergency Grant\, and she is 2023–24 Lucas Artist Fellow in Visual Arts at Montalvo Arts Center\, Saratoga\, California.\n \n\nEXHIBITION TEXTS\n\n\nDownload a PDF of the exhibition gallery guide here. \nJimena Sarno\nRhapsody\, 2025–ongoing (detail) with individual works pictured by Celeste Valero (far left) and Vestigios del Futuro (right).\nFilm\, sound. and sculptural Installation\, 17:00 min.\, looped\n16mm and Super 8 film transferred to video\, color. Sound. Custom speakers with handwoven grills. Portable tables\, steel structures; wood\, textile\, ceramic\, porcelain and mixed media objects; rigid heddle looms.\nCourtesy of the artist \nSupport for Rhapsody is provided by The Coby Foundation\, Ltd. \n \n  \nIn-kind support has been provided by Local Industries. \n
URL:https://massmoca.org/event/jimena-sarno-rhapsody/
LOCATION:MASS MoCA Building 4\, 2nd Floor + 5A\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
CATEGORIES:Current Exhibitions,Exhibition
ATTACH;FMTTYPE=image/png:https://massmoca.org/wp-content/uploads/2025/10/Webcuts_FA25_Jimena-Sarno-Install_1920-x-1920-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251206T100000
DTEND;TZID=America/New_York:20261122T170000
DTSTAMP:20260403T190211
CREATED:20250502T174830Z
LAST-MODIFIED:20260221T155556Z
UID:59428-1765015200-1795366800@massmoca.org
SUMMARY:Zora J Murff RACE/HUSTLE
DESCRIPTION:Purchase a ticket for the February 21\, 2026 member celebration here. \nZora J Murff makes photographs\, assemblages\, videos\, and text works that examine physical\, psychic\, and political violence\, the rhythms and resonances of oppression throughout history and into the present\, and the harmful desires that our visual culture cultivates. Zora J Murff is particularly attentive to the structures of state violence. His exhibition for MASS MoCA invites viewers to examine how systems of domination interlock and how their injurious effects are normalized and made invisible in everyday life. Zora J Murff’s photographs alternately capture poignant portraits\, shots of playful light\, the movement of cities\, or signs of quiet life despite the odds. His collages combine text and images from a myriad of sources. For Zora J Murff\, no issue is a single issue when the havoc created abroad is paid for\, dearly\, at home.\nIn RACE/HUSTLE\, Zora J Murff shows\, through photographs\, collages\, and\, for the first time\, installation works\, that the pursuit of liberation is\, in part\, a struggle against a desire for what merely looks like liberation. The Perfect Slave (after Jared Sexton) (2022) is a glitchy image of President Barack Obama’s official headshot that makes him look like a masked bandit. In Gas Money (Affirmation #1) (2019)\, Andrew Jackson peeks out from a folded $20 bill being passed from one Black hand to another. One of two participatory works\, Master’s Tools/Master’s House (Exclusion and Extraction) (2025)\, bluntly signifies how the art museum itself is part of the cultural arm of white supremacy and state power. RACE/HUSTLE reminds us that race\, capital\, and imperialism structure much of our relationships to one another and ourselves. At the same time\, they are not absolutely powerful. What does it take to resist? What does it take to desire to resist? \nAbout the Artist:\nZora J Murff (b. 1987) is an Oregon-based artist and educator interested in liberation from anti-Blackness. He uses his creative practice to explore the politics of racialization using provocative imagery and practices photography expansively\, stretching it across disciplines to create associative or implied images. He strives to speak plainly about visual culture and its entanglement with race\, capitalism\, and other forms of hierarchical oppression. \nAbout the Curatorial Exchange Initiative (CEI):\nZora J Murff: RACE/HUSTLE\, curated by Terence Washington\, is part of MASS MoCA’s Curatorial Exchange Initiative (CEI)\, The CEI is an exploratory pilot for how contemporary museums work collaboratively with curators and artists\, whose diverse practices and knowledge can be exchanged\, supported\, and deepened. The three-year program invites six curators to realize curatorial projects at MASS MoCA and in the North Adams community. CEI invites six fellows\, including independent and institutionally-based curators working in the United States and Puerto Rico\, to realize curatorial projects at MASS MoCA the first of which\, Steve Locke: the fire next time\, opened in 2024. As part of the program\, CEI fellows receive the support of MASS MoCA’s curators\, art fabrication and public programs teams\, and with other key staff to realize exhibitions that will be mounted at\, and supported through\, MASS MoCA over the next five years. Among the defining features of the fellowship is its emphasis on curatorial exchange — intellectual\, experiential\, cultural\, interpersonal\, and institutional. MASS MoCA provides direct support for research\, travel\, residency\, and commission/studio time for the artists each fellow is working with\, and an annual stipend for the fellows that spans a two to three year period. The six fellows are Ryan N. Dennis\, Marissa Del Toro\, Evan Garza\, Michy Marxuach\, Risa Puleo\, and Terence Washington. \nTerence Washington is a writer and curator living in Philadelphia and studying at Princeton University. He completed his master’s degree in art history at Williams College before working with the National Gallery of Art\, the NXTHVN residency\, the Museum of Fine Arts\, Boston\, and the Free Library of Philadelphia. \n\nEXHIBITION TEXTS\n\n\nDownload a PDF of the exhibition gallery guide here. \nMASS MoCA’s Curatorial Exchange Initiative (CEI) is generously supported through leadership gifts from Sarah Arison and the Arison Arts Foundation\, Michi Jigarjian\, Denise Sobel\, the Teiger Foundation\, and Yukiko and Anders Schroeder. Additional support is provided by the Director’s Catalyst Fund\, with generous contributions from Greg and Anne Avis\, Kelly and Bill Kaiser\, Steve and Lisa Jenks\, Bob Gold\, and an anonymous donor. \nZora J Murff\, Gas Money (Affirmation #1)\, 2019\nArchival pigment print\n60 x 75 inches\n3 + 1 AP \n
URL:https://massmoca.org/event/zora-j-murff-race-hustle/
LOCATION:Gallery 6.2\, MA\, United States
CATEGORIES:Current Exhibitions,Exhibition
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