Category Archives: Art

Instagramming Brutalism

This morning while riding the Green Line to work I overheard a conversation between two men commenting on the state of architecture in Boston. The men started discussing the current cold weather snap in the northeast and how when they were younger, schools never used to close. I wasn’t completely focused on the conversation and I’m uncertain how they ended up talking about Brutalism and Boston City Hall, but the brief exchange between the two was nothing short of inspiring.

One man told the other that Boston City Hall should be considered among the top 3 most beautiful and interesting buildings in the world. He spoke about the sculptural qualities of the building and how groundbreaking it was for Boston to commission a concrete building of its size and uniqueness in a city where brick seems to be the law of the land.

It’s been a while since I’ve written anything for this blog, but my experience this morning inspired me to post some of my Instagrams of brutalist buildings in and around the city (some else where too). I hope to get back to blogging and exploring the arts and built environment more frequently, but in the meantime, this post should break my blogging silence.

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Le Corbusier, Carpenter Center for the Visual Arts, Harvard University. Cambridge, MA. 1962.
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Paul Rudolph, Blue Cross Blue Shield Building. Boston, MA. 1960.
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Marcel Breuer, O’Bryant High School, Boston, MA.
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Daniel Mann Johnson + Mendenhall, The Line Hotel, Los Angeles, CA. 1964.
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John M. Johansen, The Orlando Public Library building, 1966.
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John M. Johansen, The Orlando Public Library building, 1966.
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John M. Johansen, The Orlando Public Library building, 1966.
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Bertrand Goldberg, Brigham and Women’s Hospital, Boston, MA 1976-1980.
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Bertrand Goldberg, Brigham and Women’s Hospital, Boston, MA 1976-1980.
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The Francis A. Countway Library of Medicine comprises the Harvard Medical School library and Boston Medical Library, 1965.
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Shore Plaza East Apartments, 600 Border St., East Boston, MA.

Photographs with a View of Her Own

For those of us with an interest in Boston’s Gilded Age, the Women’s Suffrage Movement or 19th century female photographers, the name Clover Adams rings a bell. Marian “Clover” Hooper Adams—Gilded Age socialite and portrait photographer, is currently the subject of a small but delightful exhibition at the Massachusetts Historical Society.  

A Gilded and Heartbreaking Life: The Photographs of Clover Adams 1883-1885—traces the privileged life of “a fiercely intelligent Boston Brahmin.” Clover began experimenting with photography in the summer of 1883 while her husband Henry Adams—prominent historian, Harvard professor and novelist—was writing Esther, a novel loosely based on the making of Trinity Church in the City of Boston. Adams modeled the heroine of the novel after his wife Clover, whom he characterized in it as a “second rate amateur” painter.

“I’ve gone in for photography and find it very absorbing” wrote Clover on September 7 1883. “My wife does nothing except take photographs…” wrote Henry to Elizabeth Sherman Cameron on July 26 1883. Artistically dismissed by Henry, Clover continued to make compelling photographs that allowed for an intimate look at America’s Gilded Age. 

Clover’s photographs are marked by quotes or any information she recorded of the individual or place she photographed—often providing a glimpse into the personalities of highly respected figures. When photographed, Senator and future Supreme Court Justice Lucius Quintus Cincinnatus Lamar of Mississippi refused to have his photo taken until “he had rumpled [his hair] all up,” wrote Clover alongside his photograph on February 23 1884.

(Left) Henry Adams seated at desk in dark coat, writing, Photograph by Marian Hooper Adams, 1883 (Right)Umbrella tree at Smith’s Point, Photograph by Marian Hooper Adams. Both Photographs courtesy Massachusetts Historical Society.

Clover’s ability to communicate the personality of her sitters is evident in the arrangement of her albums.  She paired a photograph of Henry Adams in his study room alongside a photograph of a lonely tree perched on a mountain top. One can arrive at numerous conclusions, but we can all assume that this arrangement speaks to the lonely life that Henry led.

Organized by the seasons of the year, the exhibition highlights Clover’s three albums and displays them in the context of letters, loose photographs and ephemera—including her personal sketchbook with a watercolor by John La Farge.

Having lived in the immediate surroundings of Trinity Church before moving to Washington, DC, Henry Adams became close friends with Phillips Brooks, Trinity’s then charismatic preacher; America’s premier architect Henry Hobson Richardson and artist John La Farge. Clover photographed Trinity Church and the people behind one of America’s greatest architectural treasures. These photographs, many of them iconic—also form part of this exhibition.

The photographs of Clover Adams are as heartbreaking as the life she led. On the morning of Sunday December 6, 1885 she wrote “if I had a single point of character, I would stand on that and grow back to life.” That same Sunday morning, Clover committed suicide by drinking potassium cyanide, the chemical she used to develop her own photographs. She was 42.

Henry Adams never spoke of her or mentions her in his masterpiece “The Education of Henry Adams,” but he honored Clover’s memory with the bronze seated statue by Augustus Saint-Gaudens–placed over her grave at Rock Creek Cemetery in Washington, DC.  

 A Gilded and Heartbreaking Life: The Photographs of Clover Adams 1883-1885 is accompanied by a biography of the same title by exhibition curator Natalie Dystra. The exhibition is on view until June 02, 2012.

Eso Eres / Marea

Video Still from Eso Eres. Image Courtesy of Maria Rondeau and Rafael Rondeau.

My introduction to the work of Rafael Rondeau and Maria Rondeau occurred last summer in Close Distance—a terrific group exhibition highlighting six emerging Boston-area Latino artists. That summer at the Mills Gallery, we saw videos that explored architecture and its ability to frame our experience of place. Once again, this brother and sister duo have collaborated on two separate, experimental video installations that explore the synthesis between the intimate and the public, by engaging structure, image and sound.

Maria, a practicing architect and artist and Rafael, a violinist and composer—have furthered their work with Eso Eres and Marea, two non-narrative, fully immersive works that re-examine and question the spaces we inhabit.

Eso Eres, is projected on a suspended light screen with a reflective mylar background set five feet away from the wall. The video captures a man running along a linear path, but instead of seeing the man’s entire body, we only see his face–an attempt on behalf of the artists to locate a visage as a “place.”

Video Still from Marea. Image Courtesy of Maria Rondeau and Rafael Rondeau.

 Marea, the longest and most immersive of the two videos captures a social encounter—a man sitting at a table in what appears to be an outdoor restaurant overlooking one of New York City’s neighborhoods. Projected on two elongated screens that trace the perimeter of a table—the video holds both foreground and background in focus, creating a sweeping and fluid movement that wraps around the viewer—who is encouraged to weave in and out of both installations. The sound, conceived by Rafael not only considers the spaces projected in these two installations, but also the gallery space where these works are shown.

From the sound of a string quartet—composed and performed by Rafael—to the hustle and bustle of a rural market in Guatemala—to the murmured prayers of women at a pre-Colonial church, Marea takes you on journeys near and far in the span of 10 minutes. The images and sounds in these two videos often collide with one another to awaken and alter our senses, prompting us to reconsider the spaces we experience on a daily basis.

Eso Eres/Marea is on view until March 02, 2012 at La Galeria at the Villa Victoria Center for the Arts in the South End.

A Conversation: William Cordova at the Boston Center for the Arts

William Cordova, the House that Frank Lloyd Wright built for Fred Hampton y Mark Clark, 2006 (installation view, Arndt & Partner, Berlin, 2006). Wood, books and suspended drawing, dimensions variable. Collection of the artist; courtesy Arndt & Partner Berlin

Born in Lima, Peru and raised in Miami, Florida, William Cordova is an internationally known artist practicing across multiple disciplines. Having earned his BFA at the School of the Art Institute of Chicago in 1996 and his MFA from Yale University in 2004, Mr. Cordova has exhibited at MoMA PS1, the 2008 Whitney Museum of American Art Biennial and Institute of Contemporary Art/Boston among many other national and international museums and galleries. Mr. Cordova was just awarded $25,000 as part of the Joan Mitchell Foundation’s 2011 Painters and Sculptors Grant Program.

The Mills Gallery at the Boston Center for the Arts is currently hosting William Cordova’s first solo exhibition in the city curated by Evan J. Garza—the Exhibitions and Public Programs Coordinator for the School of the Museum of Fine Arts, Boston.  On view until April 15th, this one’s 4U (pa’ nosotros) brings together new and recent works in sculpture, installation, video and works on paper that give meaning to the past in a contemporary context.

On Friday February 10, 2012 an informal conversation was held at the BCA’s Plaza Theater with William Cordova, Evan J. Garza and Jose Falconi, Curator for the David Rockefeller Center for Latin American Studies at Harvard University.

Mr. Garza opened the conversation by briefly introducing Cordova’s the House that Frank Lloyd Wright Built for Fred Hampton y Mark Clark, a structure made of two by fours that remakes the apartment layout of Fred Hampton and Mark Clark, two Black Panther members killed by the Chicago Police. The work, which is included in the exhibition at The Mills Gallery, formed the foundation for this Boston show.

William on his process and the evolution of the House that Frank Lloyd Wright Built for Fred Hampton y Mark Clark:

There are different ways that that piece evolved. In general, I’m interested in architecture and how to represent ideas of resistance through architecture. I’m often gravitating to material history that can represent that or does represent that.

I’m trying to activate certain materials, certain histories for us to reconsider ourselves, how we sometimes are seeing it from a detached perspective. While it may not be happening to us, we assume we have no relationship to that history or that situation, but in actuality, we are probably a lot closer than not.

I tend to create a lot of parallels even in the title, “Frank Lloyd Wright,” “Fred Hampton,” “Mark Clark.” Those relationships may not necessarily be obvious. The way I wanted to approach these projects or art making, was not by limiting myself to making a representation of an image or a situation by making a painting and putting it up on a wall. I wanted to provoke or challenge the way we think and painting can do that, I don’t think it would have been enough for what I wanted to do.

I was thinking about building materials, structures, symbols that represent something in transition.

I am sure everyone is familiar seeing a house—half-way built before there are dry walls; before the electrical parts are installed; before the roof. What I wanted to do was show that first part where you have the foundation and stop there; suggest to the viewer, to provoke them questions. What’s next? Are you going to add something else? Why isn’t there something else in here? Why does it suppose to be revealing?  What does that have to do in relationship to the title, to the architect Frank Lloyd Wright, to the individuals—the activists.

The piece in a way is a transitional piece, is a labyrinth, it’s also a monument, it’s a shrine.  It has different entry points; it’s also very layered. It isn’t specifically about one thing—it isn’t about Fred Hampton, Mark Clark, Frank Lloyd Wright—but about many situations or histories.

The conversation then shifted to the idea of forgotten historical narratives and how we perceive monuments. This part of the discussion focused on the installation the House that Frank Lloyd Wright Built for Fred Hampton y Mark Clark. Cordova discussed his interest in language as it develops in his works, in particular in the title piece of the exhibition this one’s 4U (pa’ nosotros)—a video-sound installation that juxtaposes audio from Federico Garcia Hurtado’s  1984 film Tupac Amaru and video from the documentary by Peter Spirer Thug Angel—about Tupac Amaru Shakur.

William Cordova on language, its meaning, and how titles emerge in his works:

I’m interested in language. I am interested in language and how we interpret it. How we communicate. I am interested in presence and how that is represented or how we represent with others. But I am also aware that in our society of the condition of trying to divide things, categorize and separate and so we might not be able to relate to one another because we’re conditioned just to have certain divisions, even though they may not inherently be there.

I’m more interested in the commonalities than the divisions. I am interested in writing and literature; that’s a big influence in my work.

Untitled (geronimo I & II), 2006-2012. Reclaimed paper bag, feathers, aerosol can. Courtesy Sikkema Jenkins & Co., New York

Mr. Cordova on the lyrical quality in his titles:

I try to appeal to many different groups, many different audiences and a lot of it is through written word. Some of it is more abstract, some of it is more literal—in order to appeal to as many people as possible.

I incorporate popular culture imagery to a certain extent. I don’t want to promote it or rely on it when I question it and slow it down—how we consume that type of imagery or any type of imagery. A lot of times visual art is considered entertainment. It’s like pulling a rabbit out of a hat, you get it?—and then you move on. It shouldn’t be about that.

Certain work rely more on certain titles, but I am not relying on the title to do the work for the visual art.

The work that I do is completely installation based, so all the works and all the components are in conversation and isolated they may not function the same way. It is really important that all the ingredients are in the same bowl. Otherwise certain things might not necessarily trigger the initial idea I had in mind, but it is all open for interpretation. It just depends on how we are conditioned to absorb, receive or interpret it.

this is not 4 U (I miss U already…), 2009 Aluminum foil, cardboard, reclaimed Plexiglas, tape 17 x 29.5 x 7 inches 43.2 x 74.9 x 17.8 cm. Courtesy Sikkema Jenkins & Co., New York

Mr. Cordova on the concept of temporality and how he treats the life of the object he creates (there is a work influenced by the Nazca lines in the window space of the gallery that was created specifically for this show and for that space—therefore will not exist in any other gallery or museum):

A lot of times we rely on digital cameras or digital recordings and everything comes really quick. We don’t necessarily take time to value that moment. When we see something, we to start taking pictures with our phones—and there is something that is lost when we have so much access. It’s like always having candy in a bowl–you won’t desire it because it’s always there. I did this site-specific piece on the floor of the institution [Mills Gallery] and I wanted to represent something that is very close to me, but at the same time it is not something that can be transported and displayed somewhere else. I didn’t want to put any type of financial or superficial value to it. I wanted it to exist. It is not something that you see at every installation. It depends on the space.

The conversation ended with the concept of constellations and how we form our own ideas of representations. Mr. Garza commented on William’s ability to take points that exist in different points in time and in space and connect them to create bridges between them. These connections and bridges are observed throughout this exhibition at Mills Gallery.

This talk  illuminated many of the works in this exhibition and allowed those in attendance to search for a deeper meaning in Mr. Cordova’s works. William Cordova provided a framework to not only better understand the House that Frank Lloyd Wright Built for Fred Hampton y Mark Clark, but also invited us to draw our own parallels with this and other works within the exhibition. William Cordova: this one’s 4U (pa’ nosotros) is on view until April 15, 2012.

Nancy Holt on Nancy Holt

A pioneer in the Land Art movement (and art world hero of mine), Nancy Holt is the subject of a retrospective at the Tufts University Art Gallery which opened on January 19th. A Worcester, Massachusetts native and Tufts graduate (Class of 1960), for the past forty-five years, Holt has created land and site-specific sculptures that explore the summer and winter solstices and sun and moonlight patterns–transforming sculpture into “live experiential instruments.”

On Tuesday January 24, 2012, Nancy Holt talked about her inspiring career as an artist, her process and challenges behind her work. I share some of her thoughts:

Sun Tunnels (1973-1976), Lucin, Utah. Photo by Sean Baron, The University of Utah – College of Architecture and Planning

On collaboration:

I work with a lot of artisans and crafts people and is very important to me the relationship that I have with those people—and is an opportunity for them to have their work appreciated in and of itself.

In reference to Star-Crossed (1979–81) at Miami University, Oxford, Ohio:

Star Crossed, Miami University, Oxford, OH. Photo: The Ohio Outdoor Sculpture Inventory

I’d like to say I think the moon looks better in the pool, so I would say that art improves on nature.

On the passage of time and her work:

I now know more about what happens to my works now through the internet. I get the news items about what’s going on—of people who were at Sun Tunnels…

In reference to Solar Rotary (1995) at University of South Florida, Tampa Campus:

I love seeing my work in different seasons, with snow on them and in this case—I love seeing it with the rain.

On her process:

I didn’t know what process was. All I can say is that certain things inspire me and they live within me and they lead to action later on. It leads to fruition. You never know how it’s going to manifest.

Where is the Love? The Building Bostonians Love to Hate

Boston City Hall, Rear facing Faneuil Hall, Photo Credit: Historic American Building Survey

Yelp has become quite the platform for not only reviewing restaurants, hotels, stores and everything in between, but also architecture and public spaces. Who knew? 

 Curious to see what people had to say about some of Boston’s most beautiful “ugly” buildings, I conducted a search on Yelp.

It turns out, people love the Christian Science Monitor Complex in Boston, a complex with an excellent collection of concrete buildings from around the 1970’s, but hate Boston City Hall. Who knew?  Bostonians love to hate it, while those reviewers from other states like it.

Did you know that in 1976, on a national survey conducted by the American Institute of Architects and taken by architects, critics and historians in the United States, Boston City Hall was voted as one of the ten greatest works in American architectural history? I have been saying that for years, but read it from our very own architecture critic Robert Campbell

I think Boston City Hall is one of the most beautiful buildings in the City of Boston. Let’s agree to disagree.

Yelp Reviews of City Hall:

Jeremy G. from Humble, TX – writes “THIS is the building Le Corbusier **WISHED** he had designed.”

Beans B. from Brighton, MA:  “From the wind-swept brick wasteland outside to the ridiculously narrow and uncomfortable spectator seats in the city council chamber to the lack of sufficient restrooms this building is a disaster.”

Alexandra S. from Hingham, MA: “There’s no avoiding the area for me since I walk through Boston City Hall plaza twice a day during the week. Ultimately, the sad reality is that no matter how much I’ve looked for something to appreciate, I don’t like this building.  

I’ll even go a step further and say that there is in fact nothing redeeming at all about Boston CIty Hall and the red brick environs. I finally just have to admit to myself that this is just one ugly and off-putting building and plaza.”

Sebastian Y. from Boston, MA: “A monstrosity apparently designed by angry communists, which would look more at home on the outskirts of Moscow or Minsk.” 

Hans W. from Brooklyn, NY writes:  “City Hall is a badass spaceship space palace, and it’s sitting downtown because in 1962 someone had an original idea and someone else took a chance on it.  And that’s what life’s all about.”-

K G. from Boston, MA: “I don’t despise the building itself as much as many people seem to.  I have not seen another building like it, so you can call it unique at least.”

Jack M. from Boston, MA: “As a friend of mine once said, “Boston City Hall is the ugliest piece of architecture on the planet”.

Dan B. from Newton, MA: “The Boston City Hall looks like a good design for a maximum security prison in the Soviet Union.  Except even the Soviets would never have come up with the giant concrete stilts, which causes the building’s underside to loom over congress street and the unfortunate security guards who work there.”

Courtney P. from Boston, MA: “This building is just ugly.  With architecture being one of my favorite parts of Boston, it’s so disappointing that this building is City Hall.  Please consider building something else!”

What do you think of Boston City Hall? Let’s hear your thoughts.

Shapeshifting: Transformations in Native American Art at the Peabody Essex Museum

Rebecca Belmore (born 1960), Anishinaabe; Fringe, 2008; Inkjet print on paper; 21 x 63 inches (53.3 x 160 cm); Collection of Catherine Sullivan-Kropa and William Kropa; © Rebecca Belmore, image courtesy Rebecca Belmore, photograph by Henri Robideau.

A terrific dialogue is currently unfolding in the galleries of the Peabody Essex Museum, with an exhibition that explores links between historic and contemporary Native American art. Featuring works drawn from worldwide collections, Shapeshifting: Transformations in Native American Art, takes us on an unforgettable, celebratory journey that transcends boundaries and erases stereotypes along its path.

A concept in Native cultures, shapeshifting refers to the ability of humans changing into animals or supernatural beings and vice versa. In essence, it refers to the idea that creativity has always been part of Native cultures.

“…Native American art has always taken cultural knowledge and metaphors and refreshed them with new ideas and forms[1]” writes Curator Karen Kramer Russell in the exhibition catalog. In the past, “…museum exhibitions have focused largely on either historical or contemporary Native American art, but with very little mixing of the two.” Shapeshifting shatters the notion that all art created by Native Americans is either ethnographic or crafty in appearance.

Kent Monkman (born 1965), Cree; Théâtre de Cristal, 2007; Chandelier, plastic beads, acrylic string, cabouchons, simulated buffalo hide, and Super-8 film: Group of Seven Inches, 2005 (7:34 minutes), edition 1/3; 168 x 240 inches (diam. approx.) (426.7 x 609.6 cm); The Glenbow Museum, Alberta, Canada, purchased with funds from Historic Resource Fund, 2008, 2008.099.001; Courtesy Kent Monkman and Bruce Bailey Art Projects; © Kent Monkman, image courtesy MacKenzie Art Gallery, photograph by Don Hall.
Kent Monkman (born 1965), Cree; Théâtre de Cristal, 2007; Chandelier, plastic beads, acrylic string, cabouchons, simulated buffalo hide, and Super-8 film: Group of Seven Inches, 2005 (7:34 minutes), edition 1/3; 168 x 240 inches (diam. approx.) (426.7 x 609.6 cm); The Glenbow Museum, Alberta, Canada, purchased with funds from Historic Resource Fund, 2008, 2008.099.001; Courtesy Kent Monkman and Bruce Bailey Art Projects; © Kent Monkman, image courtesy MacKenzie Art Gallery, photograph by Don Hall.

Kent Monkman’s electrifying video installation Théâtre de Cristal opens the exhibition and sets the tone for the rest of the show. Referencing a tipi made of clear plastic beads lit by an elaborate chandelier, Monkman critiques and challenges “the dominant Euro-American ethnocentric construction of Native North America embedded in a global consciousness.[2]” Paul Chaat Smith, Curator of the Smithsonian’s National Museum of the American Indian considers Théâtre de Cristal “a work from the future about people who aren’t supposed to have one.[3]The installation is brilliant and the accompanying text should not be missed (even if you are a White European male, and you’ll know what I mean by this if you see this exhibit).

Kent Monkman (born 1965), Cree; Théâtre de Cristal, 2007; Chandelier, plastic beads, acrylic string, cabouchons, simulated buffalo hide, and Super-8 film: Group of Seven Inches, 2005 (7:34 minutes), edition 1/3; 168 x 240 inches (diam. approx.) (426.7 x 609.6 cm); The Glenbow Museum, Alberta, Canada, purchased with funds from Historic Resource Fund, 2008, 2008.099.001; Courtesy Kent Monkman and Bruce Bailey Art Projects; © Kent Monkman, image courtesy MacKenzie Art Gallery, photograph by Don Hall.

Organized thematically, many works in Shapeshifting rely on politics to convey a concept, while others explore identity, place, and cultural heritage.

Marie Watt’s Column Blanket Stories, evoke the blankets infested with smallpox and other diseases brought by Europeans and distributed to Natives across the Americas. Independent scholar Kara English notes that today, blankets are associated with beauty, honor and respect and that “these [blankets] prized items weave together an intergenerational continuum and are gifted at births, comings-of-age, graduations, marriages, naming and honoring.[4]

Marie Watt (born 1967), Seneca; Column (Blanket Stories), 2003; Wool blankets and cedar; 144 x 20 x 20 inches (365.8 x 50.8 x 50.8 cm); Collection of Deborah Green; © Marie Watt, image courtesy Marie Watt and PDX Contemporary Art.

Rebecca Belmore’s Fringe, a powerful and haunting photograph of a female figure references the abuse of Native women and of the land. Bob Haouzous’ Wheel of Fortune is a deliciously superb work featuring the face of Geronimo surrounded by descriptive words. This wonderful work is a call to Native people to stop hiding behind general stereotypes. And yes, the Wheel of Fortune spins just as it does in the television game.

Bob Haozous (born 1943), Chiricahua Apache; Wheel of Fortune, 2005; Steel and paint; 96 inches (diam.) (243.8 cm); Courtesy the artist; © Bob Haozous.

Shapeshifting is a provocative exhibition filled with complex ideas. It opened my eyes to a world of Native American art making not frequently discussed or exhibited outside non-Native art or anthropological museums. As far as the implications of an exhibition with many politically charged artworks, Karen Kramer Russell says “the intention is that people will have a broader and deeper understanding of Native art and culture.”

Shapeshifting captures the creative spirit and resilience of cultures that have long been repressed.  It’s a remarkable and fascinating exhibition that changed my perception of contemporary Native American art and its transformations through time. The works in this exhibition foster an enriching dialogue that should be nurtured and savored over multiple visits to the Peabody Essex Museum.

Shapeshifting: Transformations in Native American Art is on view through April 29, 2012 at the Peabody Essex Museum in Salem, MA.


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