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Events 01/24/2019

01/24/2019 (Thursday)

Sol LeWitt: A Wall Drawing Retrospective

After nearly six months of intensive drafting and painting by a team of some sixty-five artists and art students, Sol LeWitt: A Wall Drawing Retrospective is fully installed. The historic exhibition opens to the public at MASS MoCA (Massachusetts Museum of Contemporary Art), in North Adams, Massachusetts, on November 16, 2008, and will remain on view for twenty-five years. Conceived by the Yale University Art Gallery, New Haven, Connecticut, in collaboration with the artist before his death in April 2007, the project has been undertaken by the Gallery, MASS MoCA, and the Williams College Museum of Art, Williamstown, Massachusetts.

Sol LeWitt: A Wall Drawing Retrospective comprises 105 of LeWitt’s large-scale wall drawings, spanning the artist’s career from 1969 to 2007. These occupy nearly an acre of specially built interior walls that have been installed—per LeWitt’s own specifications—over three stories of a historic mill building situated at the heart of MASS MoCA’s campus. The 27,000-square-foot structure, known as Building #7, has been fully restored for the exhibition by Bruner/Cott & Associates architects, which has closely integrated the building into the museum’s main circulation plan through a series of elevated walkways, a dramatic new vertical lightwell, and new stairways.

The 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.

Jock Reynolds, the Henry J. Heinz II Director of the Yale University Art Gallery, states, “Watching this grand installation of Sol LeWitt’s wall drawings progress over the past 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 the next twenty-five years.”

LeWitt—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 artworks.

Each wall drawing begins as a set of instructions or 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.

MASS 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 will be evident in this landmark exhibition, LeWitt’s wall drawings rise to those highest of standards. We look forward to having this amazing collection of works 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.”

Project History

The impetus for Sol LeWitt: A Wall Drawing Retrospective was a 2004 conversation between Reynolds and LeWitt. This evolved and resulted in a commitment by the artist to give 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 historic mill complex, growing audience, and history of realizing ambitious new works of art, might be able to accommodate an extended retrospective of the works.

Reynolds and LeWitt then met with Thompson, who introduced the artist to Building #7. The structure, situated at the center of MASS MoCA’s multi-building complex and featuring large banks of windows that open onto two flanking courtyards, 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, 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 Hills beyond. Bruner/Cott integrated the galleries with MASS MoCA’s existing plan by re-activating existing elevated connector-bridges and adding new ones, and by creating a new three-story lightwell. The design thus links the building to MASS MoCA’s signature Building #5 and provides vertical circulation and handicapped access.

Retrospective Installation and Education Opportunities

“Detailed,” “painstaking,” and “strangely liberating” are terms that have been used to describe the experience of creating Sol LeWitt’s monumental wall drawings. The drawings at MASS MoCA were executed over a six-month period by a team comprising twenty-two of the 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 post-graduates from many of the nation’s leading studio-art programs. MASS MoCA’s North Adams location, just five miles from Williams College, offers a unique educational opportunity for Williams’s undergraduates and those enrolled in its graduate art-history program at the Sterling and Francine Clark Art Institute to participate in this special exhibition. Like Yale, Williams is among the primary training grounds for professionals in the field of art history, and the LeWitt collaboration, to be accompanied by a variety of educational programs, will offer students many opportunities to study the work of this important artist.

In conjunction with the project, the Williams College Museum of Art (WCMA) is creating a series of programs and shorter-term companion “teaching exhibitions” in a space at the entrance of Building #7 and at the WCMA. The first of these, The ABCDs of Sol LeWitt, opens at WCMA on November 14, 2008. It includes important works from LeWitt’s private collection that help elucidate the underlying grammar of the artist’s work and ideas.

WCMA Director Lisa Corrin says, “Our goal is to have Sol LeWitt: A Wall Drawing Retrospective serve as an extension of the Williams campus—a classroom of sorts for our students and those from other colleges and universities. LeWitt’s art offers challenging teaching opportunities for faculty from across academic disciplines. The WCMA staff will help professors craft curricula related to the exhibition. All three of the museums partnering in the retrospective play a major role in the training and support of many of the artworld’s future leaders, and this adventurous collaboration will offer a new generation of students unprecedented firsthand exposure to the work of a major artist of our time.”

Exhibition Publication

On the occasion of Sol LeWitt: A Wall Drawing Retrospective, MASS MoCA and Yale University Press are producing Sol LeWitt: 100 Views, a hardcover book with 100 new essays. Contributors are drawn from a wide array of expertise and fields of specialization. Authors 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. The publication, which includes 150 color plates, may be ordered through Hardware: The MASS MoCA Store.

Sol LeWitt Wall Drawings: A Catalogue Raisonné

In 2010, the Yale University Art Gallery and Yale University Press will co-publish Sol LeWitt Wall Drawings: A Catalogue Raisonné. The basic design for this three-volume scholarly resource, a project of the Gallery, was created by the artist during his lifetime. The book will contain descriptive texts, diagrams, installation photographs, and more for all of the 1,261 wall drawings that LeWitt realized from 1968 to 2007. A DVD illustrating both the proper uses of materials and drawing techniques to be employed in realizing LeWitt’s basic “families” of wall drawings will also be included, providing a helpful guide to their proper future installation, as well as to the drawings’ long-term care and conservation.

Conserving the Legacy of Sol LeWitt’s Wall Drawings

To additionally preserve the artistic legacy of Sol LeWitt’s wall drawings in perpetuity, the Yale University Art Gallery has endowed a position for a drawing conservator through the generosity of Yale alumnus Theodore P. Shen, b.a. 1966, and his wife, Mary Jo Shen. In time, this conservator will oversee the LeWitt wall-drawing archive and other works on paper at Yale and will train new assistants to install the artist’s wall-drawing collection at Yale as well as those owned by individuals and public institutions worldwide.

Anicka Yi: Our Love Is Bigger Than An Aids Quilt

On view for the first time at WCMA, this installation by Anicka Yi (American, b. South Korea, 1971) immerses visitors in a sensorial experience. At its center, a large, illuminated dish contains hair gel with hundreds of cosmetic contact lenses pinned into its undulating surface, as a mentholated scent pervades the room.

In her distinctive use of unconventional and often ephemeral materials, Yi’s work reorders the cultural forces that privilege containment over leakage, clarity over ambiguity, and ocularity above all other senses.

Diana Al-Hadid: Delirious Matter

In her first major public art project,   Diana Al-Hadid (American, b. Aleppo, Syria 1981) combines aluminum, steel, fiberglass, concrete, polymer modified gypsum, and pigment in four sculptures installed across the Williams campus. Al-Hadid is best known for creating ghostly white sculptures that pivot among architectural ruin, figuration, and abstraction. Delirious Matter conjures architecture that evokes archaeological remains, human figures that seep into cascading form, and expanses that hover between interior and exterior. The sculptures are located accross the Williams College campus, in front of Berkshire Quad, Hopkins Hall, and the Sawyer Library Quad.

Matryoshki in Winter

The mini-exhibition, Matryoshka in Winter, features a selection of nesting dolls from the Museum’s collection that celebrates Russian winter and the Christmas season. Some dolls in this exhibit tell the story of Grandfather Frost and the Snow Maiden who are said to bring joy and presents to children on New Year’s Eve. Other themes will include Santa Claus, nutcrackers, and the joyful activities of Russian winter.

The bright colors, distinctive shapes, and creative concepts of Russian nesting dolls have delighted children and adults alike for over a century. The toys are recognized around the world as the quintessential Russian souvenir. Contemporary independent matryoshka artists developed unique and creative styles, taking their work beyond traditional patterns and themes. Transcending the boundaries of conventional Matryoshka production, they elevated the medium from a craft to fine art.
Nesting dolls make an entertaining medium for storytelling and artists sometimes paint detailed pictures on each doll so that the story progresses as the matryoshka is opened, depicting elaborate stories from the daily lives of Russians to famous fairy tales.

 

Corncobs to Cosmonauts: Redefining the Holidays in the Soviet Era

The Museum of Russian Icons is presenting an exhibition of over 150 Soviet-era ornaments from November 9, 2018-January 27, 2019. Mostly donated by collector Frank Sciacca, the decorations come from the former USSR and will be displayed alongside various sizes of “New Year’s Trees” along with toys, books, and cards that will transform the Museum’s West Gallery into a winter wonderland.

Following the Russian revolution in 1917, the anti-religion Bolsheviks discouraged Christmas and New Year celebrations in the Soviet Union, the gift giving and extravagance that accompanied the holidays came to symbolize the greed and excess of the bourgeois. The tradition of celebrating Novy God (New Year) re-appeared in 1935 as a secular holiday that would symbolize Soviet children’s prosperity and happiness. The New Year’s tree, or yolka, was repurposed as the central symbol of the celebration but with all religious references removed.

The Red Army’s ruby star replaced the star of Bethlehem on top, and the tree was decorated with non-religious shaped ornaments such as animals, plants, Kremlin architecture, airplanes, and the hammer and sickle. After the Soviets launched Sputnik 1 in 1957, figures of cosmonauts, rockets, satellites, and planets became popular. Ornaments that celebrated the country’s achievements in agriculture, like peppers, grapes, and carrots, were sold during Nikita Khrushchev’s time–the most popular being corncobs because of Khrushchev’s “corn campaign.”

The Russian fairytale figure, Ded Moroz (Grandfather Frost) was said to travel in a horse-drawn sleigh with his beautiful granddaughter, Snegurochka (Snow Maiden), to deliver gifts to children across Russia. In the early years of the Soviet regime, the Ded Moroz was an unacceptable link to old Russia. In later years he became the symbol of Novy God a move taken by the government as a way to stop the advance of the western tradition of Santa Claus. Ornaments and statues of Ded Moroz, sometimes with Snergurochka, became favorite decorations for New Year’s trees and family rooms during winter festivities.

 

Extreme Nature!

Extreme Nature! explores how nature’s extremes—remote, fantastical, and unpredictable—permeated artistic imagery throughout the nineteenth century. Influenced by the rise of popular science, artists examined everything from volatile weather patterns and the stars to the Earth’s most cavernous depths. Documentary images of fires and floods enabled viewers to see nature’s destructive power from a distance, while other artists pushed beyond nature’s known boundaries to imagine its limitless possibilities. Featuring more than thirty-five prints, drawings, and photographs, this exhibition reveals how artists sought to mitigate nature’s dangers, transforming the hazardous and remote into awe-inspiring portrayals of natural phenomena.

 

Turner and Constable: The Inhabited Landscape

Turner and Constable: The Inhabited Landscape features more than fifty landscapes by J. M. W. Turner and John Constable, artists who elevated the status of landscape painting in the nineteenth century. The exhibition includes oil paintings, watercolors, drawings, and prints that explore the importance of the built landscape and the human figure within it. Constable and Turner lived and worked during a period of great political, social, and industrial change for Great Britain. They were aware of modernizing farming practices, improvements in nautical safety, the rise of European tourism, and the urbanization of England. In this exhibition, Turner’s and Constable’s works are explored to reveal social, cultural, political, and personal significance of the subjects depicted.
 
Turner and Constable celebrates the Manton Collection of British Art, created by Sir Edwin and Lady Manton and given to the Clark in 2007, by highlighting the works from that collection—such as Constable’s The Wheat Field (1816). Works collected by Sterling and Francine Clark, such as Turner’s Rockets and Blue Lights Close at Hand to Warn Steam Boats of Shoal Water (1840), acquired in 1932, are also included in the exhibition, as are targeted loans from other New England institutions.

#5WomenArtists

Despite encouraging signs of women’s improved status and visibility in the art world, inequality persists. With this show we intend to shine a light on under-recognized regional female artists and raise the awareness of their work and illuminating narratives they offer on the world we live in.

Rococo: Celebrating 18th-Century Design and Decoration

Lobby, Flynt Center of Early New England Life.

This year marks the 300th anniversary of the birth of Thomas Chippendale (1718-1779), English furniture maker, author of The Gentleman and Cabinet-Maker’s Director (1754), and important disseminator of what is commonly known today as the Rococo style.  Since the 1840s, the term “Rococo” has been used to describe a variety of 18th-century decorative art forms that bear particular ornamental characteristics. Hallmarks of the style include asymmetrical and naturalistic forms, often achieved through the inclusion of “C” and “S” shape scrolls, and motifs such as foliage, rocks, and shells.  Rooted in France in the 1730s, the style quickly gained popularity in other countries, including England and America, where it was adopted to different degrees. The exhibition celebrates both Chippendale’s legacy and the iconic style he helped promote through a number of English and American Rococo decorative art forms from Historic Deerfield’s rich collection.

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