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Events 02/23/2020

02/23/2020 (Sunday)

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.

Spencer Finch Cosmic Latte

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 in May 2017 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 that will be suspended from the ceiling over an expanse of the 80-foot long gallery. The constellation of LEDs will be 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 for 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.

Sol Lewitt Structures

A new adjunct to MASS MoCA’s long-running Sol LeWitt exhibition A Wall Drawing Retrospective , a concise selection of the artists’ three-dimensional sculptures is on view in B6: The Robert W. Wilson Building. The works illustrate the generative potential for LeWitt’s serial approach.

Mary Lum Assembly (Lorem Ipsum)

Artist Mary Lum, who lives in North Adams, works in a range of media, including wall drawing, painting, collage, photography, and artist books. Language plays an important role in her practice, with the artist drawing on texts from a diversity of sources, including literature, psychoanalysis, and the news. Lum has been included in three previous exhibitions at MASS MoCA in the past fifteen years; for the opening of Building 6 she was commissioned to create a large-scale wall work for the bike tunnel that transverses the ground floor of Building 6, piercing one of MASS MoCA’s biggest buildings to connect Adams-North Adams-Williamstown bike trails. Lum’s monumental painting, covering four walls, is inspired by Lorem ipsum, the meaningless text that graphic designers and typesetters use as mock filler content as placeholders for actual texts, and which was originally drawn from Cicero’s writings on ethics. The intricate work vibrates between writing, image, and pattern, and speaks to the fragmented way in which we acquire information and see language in today’s world. Mirrored interludes provide a vibrant backdrop to passing cyclists.

 

Laurie Anderson

Laurie Anderson is one of today’s premier multimedia artists, known for her achievements as a visual artist, composer, poet, photographer, filmmaker, vocalist, and instrumentalist, and her innate ability to meld her dynamic practices into new and vibrant forms. Her seemingly boundless oeuvre includes the creation of books, albums, and performances that incorporate film, slides, recorded audio, live music, and spoken word. Anderson has long been recognized as a groundbreaking leader in the use of technology in the arts and has developed new musical instruments, including the tape bow violin, in which the bow has been replaced with magnetic audiotape and the bridge with a reader. She was one of MASS MoCA’s first artists-in-residence and has returned to the museum many times to develop and discuss works-in-progress. In MASS MoCA’s Building 6, Anderson will create a multi-functional environment that will serve as a working studio, audio archive, and exhibition venue, highlighting both her creative process and some of her most unforgettable works.

Jenny Holzer

Jenny Holzer’s concise, often enigmatic, writings infiltrate public life and consciousness through everyday objects such as LED panels and stone benches, as well as her paintings and sculpture. She is best known for her light projections, begun when she illuminated the banks of the Arno River with her writings in 1996. In these projections, which have now appeared in over 40 cities in 20 countries, stark block lettering is thrown onto landscapes and architecture, creating ephemeral graffiti that links her early street-based practice to her long-standing engagement with media, and tactics common to news and advertising. Following her monumental installation in MASS MoCA’s Building 5 in 2007, which marked her first indoor projection in the U.S., Holzer returns with a campus-wide program, timed to the opening of Building 6 in May 2017. The program will include a large-scale outdoor projection on the side of Building 6, a series of her celebrated carved stone benches located throughout MASS MoCA’s sprawling campus, an exhibition of her early posters, and additional rotating exhibitions of her work in Building 6, spanning the breadth of her career.

Louise Bourgeois

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 Building 6, MASS MoCA, in partnership with the Louise Bourgeois Trust, will present a group of the artist’s marble sculptures, some of which have never been seen previously. The works fluctuate between the whimsical and the grotesque, the threatening and the nurturing, highlighting Bourgeois’ investigations of dualities and the pursuit of identity, individual and communal. The installation also speaks to the artist’s interest in monumental scale, with one sculpture weighing in at more than 10 tons. The design of the gallery that will house these works in Building 6 was constructed specifically to hold the weight of such works.

Gunnar Schonbeck No Experience Required

Over a period of fifty years, Gunnar Schonbeck crafted an arsenal of more than 1,000 instruments, handmade from a diverse and unexpected range of materials. His unmistakable works include a 9-ft banjo, 8-ft tall marimba, drums made from aircraft fuselages, welded steel harps and countless steel drums, zithers, pan pipes, tubular chimes, and triangular cellos. His practice draws on a core philosophy: anyone can be a musician, and music can be made from the most ordinary of objects. Over the last five years, visiting musicians to MASS MoCA, including Bang on a Can’s Mark Stewart and Wilco’s Glenn Kotche, have drawn on Schonbeck’s instruments in their performances and projects. With the restoration and renovation of Building 6, MASS MoCA will bring Schonbeck’s distinct approach to music-making to a wide audience, encouraging visitors and artists to play and experiment. A gallery devoted to the musicologist will feel like a high school music room — outfitted with a selection of Schonbeck’s instruments available to visiting artists, MASS MoCA visitors, and local school groups.

James Turrell

In 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. Turrell 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 will present a multi-decade retrospective of Turrell’s work in Building 6 — with galleries designed and constructed specially to best accentuate his installations. This exhibition will feature a major work from each decade of the artist’s career.

Barbara Prey

Renowned watercolor artist Barbara Ernst Prey paints a monumental watercolor for MASS MoCA’s expansion. Prey’s work will be 8 feet tall by 15 feet wide and depicts the interior of Building 6 just prior to the start of construction.

Best known for her plein air paintings, Prey’s commission sets a new benchmark for the size and scale of watercolor works on paper, among the most unforgiving combination of any painterly media. Her piece will tackle the vast horizontal spread of Building 6’s second floor, which comprises a full acre of floor area, with some 400 columns, hundreds of windows, and layers and layers of paint. “This commission is a painter’s dream, an engaging subject combined with a breathtaking scale for this media,” says Prey. “I have long admired MASS MoCA’s commitment to breaking boundaries in commissioning and presenting new works, and am thrilled to have been asked to create a piece that celebrates the organization’s ongoing growth and success. The architecture, the light, the colors, and the different textures of the space in Building 6 are all compelling subjects, and this piece has pushed my boundaries as an artist, opening up new perspectives on watercolor painting.”

Prey’s paintings are included in some of the most important public and private collections around the world, including The White House (one of two living female artists), the National Endowment for the Arts, the Brooklyn Museum, the Smithsonian American Art Museum, the Kennedy Space Center, the Farnsworth Art Museum, Williams College Museum of Art, Hood Museum of Art Dartmouth College, the Taiwan Museum of Art, the New-York Historical Society, the Henry Luce Foundation, and the Bush Presidential Library and Center.

She has also been commissioned by NASA to document space history. Prey graduated from Williams College where she studied with Lane Faison as part of the Williams College Art History program and holds a master’s degree from Harvard University where she was able to continue her art history studies. She was awarded a Fulbright Scholarship and a Henry Luce Foundation grant that enabled her to travel, study, and exhibit extensively in Europe and Asia. She is an art blogger for The Huffington Post, a frequent lecturer, and an arts advocate, as well as an adjunct faculty member at Williams College. In 2008, she was appointed by the President of the United States to the National Council on the Arts, which is the advisory board of the National Endowment for the Arts. Members are chosen for their established record of distinguished service and achievement in the arts.

Sarah Crowner Wall (Hot Blue Terra Cotta)

Building #6

Sarah Crowner’s gorgeous 10 × 20 foot tile mural Wall (Hot Blue Terra Cotta) — fabricated for her recent 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.

 

Joe Wardwell Hello America: 40 Hits from the 50 States

Building #6

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!”

 

The Metabolic Studio/Optics Division Hoosic: The Beyond Place

Building #6

In October 2016, artists Lauren Bon, Richard Nielsen, and Tristan Duke of the Optics Division of the Metabolic Studio spent a week at MASS MoCA using their Liminal Camera — a moveable, monumental camera built from a repurposed shipping container — to create a series of portraits of B6: The Robert W. Wilson Building. The team examined the adjacency of this repurposed industrial building to the industrialized Hoosic River. To make the prints on display, the Optics Division collected Hoosic water and poured it over the paper during printing, imbuing the image with ripples of river water.

Janice Kerbel - Slip

Building #6

At once poetic and darkly comedic, Janice Kerbel’s Slip uses graphic musical notation to imagine the trajectory of a body in mortal peril as it slips on a banana peel. Moving from very small to very large print along an upward curve before suddenly crashing downward, Slip unfolds across more than 100 running feet of wallspace in MASS MoCA’s newly renovated B6: The Robert W. Wilson Building. The work calls on the history of graphic notation, physical comedy, and concrete poetry to create a visual representation of a brief moment across both space and time. Situated just outside of the new galleries devoted to the musical instruments of Gunnar Schonbeck and works by experimental musician and artist Laurie Anderson, Slip conflates visual art and musical performance — cornerstones of MASS MoCA’s program — at a grand architectural scale.

 

Arabesque

Like the notes of a melody or a dancer’s movements, the arabesque line in a painting or poster unfolds in a freely evolving form that is as distinctive as it is variable. Based on stylized motifs of vegetal ornament such as intertwining tendrils and leaves, the arabesque line has long been admired for its decorative qualities and its extraordinary flexibility. Without constraints or a predetermined path, it wanders and swirls in open-ended, unpredictable ways.
The term “arabesque,” a French word derived from the Italian “arabesco,” speaks to the motif’s origins in the art and architecture of the Arab world. Western fascination with arabesque design, though complicated by misreadings of its Islamic and pre-Islamic sources, helped make it integral to European art. For a long period, arabesque was consigned to the border, used as a visually pleasing framing device. With its exceptional freedom and flexibility, however, the arabesque line gradually evolved into an independent driver of pictorial innovation.

During the nineteenth century, a wide array of European artists explored the creative potential of arabesque across various media. The examples gathered here encompass a remarkably diverse set of styles. The exhibition begins with the highly ornate, detailed, fanciful compositions of the German Romantics, with strong links to literary sources; then moves on to historicist adaptations and interpretations directly inspired by Islamic designs, which travelers like Owen Jones helped make available to Western viewers; and concludes with the pictorial experiments of Nabi and Art Nouveau artists, powerfully informed by contemporary developments in music and dance. Bridging cultures and media, arabesque did not settle into a single form or style but rather burst open the aesthetic possibilities available to artists of this period, tracing a winding path from decorative border to overall principle of design.

Landmarks

Landmarks, the first survey of its robust photography holdings. Featuring 117 works spanning 120 years, the exhibition explores how human beings have used photographic processes to orient and define themselves in relation to the natural and built environment.

The works on view are selected for their resonance with the multivalent term “landmark”­ and can be explored along four thematic pathways: landmark events, buildings as landmarks, landmark features of specific environments, and landmark impressions. The majority of the photographs in the exhibition focus on the human altered landscape and the tension between natural and built environments. Evoking current conversations around climate change, space colonization, and the impact of technologies that have major repercussions for our species, Robert Misrach’s haunting Desert Croquet #1 (Deflated World) of 1987 is featured, as well as evocative images from the archives of the National Aeronautics and Space Administration (NASA). Other works such as those by LaToya Ruby Frazier, Fabrice Monteiro, and James H. Karales bring issues of social justice, poverty, racism, and inequality to the fore.

This survey exhibition affirms WCMA’s commitment to collecting, exhibiting, and teaching with works that provoke conversation and research on the most important questions of our time. “Photography comprises roughly one-quarter of the museum collection and has been an area of focused growth over the past few decades, through both generous gifts and museum acquisitions,” states Class of 1956 Director Pamela Franks. “Landmarks showcases how the museum continues to collect with an eye toward greater inclusivity and diversity of artist identities and global perspectives. The photographs on view lend themselves to rich educational experiences for Williams College students and faculty and for all museum visitors.”

For nearly 200 years, human imagination and reason have returned to specific photographic images of certain places again and again, lending some the status of “landmark” works in the history of photography. WCMA has collected some of these great examples of nineteenth-, twentieth-, and twenty-first-century ingenuity in the framing of place by artists such as Berenice Abbott, Ansel Adams, Robert Adams, Manuel Álvarez Bravo, Edward Burtynsky, Harry Callahan, Walker Evans, Lee Friedlander, Barbara Morgan, Walter

Rosenblum, Raghubir Singh, Aaron Siskind, Garry Winogrand, and Marion Post Wolcott. In the current presentation, these luminaries are arranged in concert with contemporary voices building upon, and challenging, repertoires of site and sight such as Oliver Boberg, Gregory Crewdson, Christina Fernandez, Dionisio González, Andreas Gursky, Daniel Kukla, Susan Meiselas, Elle Pérez, and Alec Soth.

In conjunction with the exhibition, curator of American art Horace Ballard teaches a seminar course titled Landscape, Theory, Ideology and invites the public to join two class conversations in the exhibition. WCMA also welcomes guest scholars and artists, including Clifton Granby and Michael Kolster, to be part of public programs that encourage discourse around the ethical, environmental, and political issues raised by the works on view. The exhibition asks, but does not seek to answer, the question “What is a landscape?” Instead, visitors are invited to answer it for themselves, and in relation to each image they encounter. Ballard writes in Field Notes, the exhibition publication: “To my thinking, a landscape is not a genre; it is rather a technique, tool, or mode of envisioning the world and our relationship to it—with all the real and metaphorical sense of constancy and change that technological innovations to human sight would imply. Each photographer defines a landscape differently. In our role as viewers, each of us will take something unique from our communion with these objects.”

Hibernation, Migration and Adaptation Stations!

Daily during School Vacation Week, 10:00am - 3:00pm
Hibernation, Migration and Adaptation Stations! - Learn about our native animals and birds that hibernate, migrate or change their appearance in ways to adapt to the changing seasons! Chose a storybook, video or craft activity! Take home projects also available. Designed as a self-guided activity with intermittent sessions led by a Park Interpreter. This program is FREE for all ages. Children under 18 must be accompanied by an adult. Meet at the Visitor Center.

February School Vacation Week @ Yankee Candle

Feb School Vacation: Feb 15th – 23rd  https://www.facebook.com/events/176146236823286/

Escape the winter blues and join us for a whole week of fun!

Each day we will have a free craft from 10am-12pm,

PLUS: Face Painting, Caricature Artist, Raffle just for Kids & a Scavenger Hunt.

Saturday 2/15: Candy Day!

1-3pm Mad Science - Fun with Candy! ... and get a Yankee Candy Jar filled with your favorite candies for only $8.

11-3pm Visit with Magic Wings - traveling butterfly exhibit.

Sunday 2/16:

1-4pm Birds of Prey with Tom Ricardi

Monday 2/17:

All Day: Save 25% off your Build A Bear Accessories with a purchase of a Bear!

1-3pm Ben & Jerry's Ice Cream Social $5

Tuesday 2/18: Story Time

1pm & 2pm: Join local Authors Angel & Tony Diterlizzi

1-4pm for the grown ups: In honor of "National Wine Day" visit with Hardwick Winery and sample some wine or enjoy a glass!

11-3pm Visit with Magic Wings - traveling butterfly exhibit.

Wednesday 2/19: Magic Shows

Join us for three shows by Ben Pratt Magic (Comedy Illusionist) - 1pm , 2pm, & 3pm

Thursday 2/20: Art Fun

1-3pm Paint a Canvas to take home. $5.00 each

Friday 2/21:

12pm -2pm Meet and Greet with friends from a galaxy afar!

Saturday 2/22:

Princess Sing Along - Join us for the sequel into the unknown!

Three show times 11:45- 12:30, 12:45-1:30, 1:45 - 2:30

Each show is 45 min long. *NEW show this year! New songs and old favorites! Tickets are needed. $5 per person + tax

Visit Eventbrite to get yours today: https://www.eventbrite.com/o/yankee-candle-village-ma-19746877270

Sunday 2/23: Magic Shows

Join us for three shows by Ed Popielarczyk - 12pm, 2pm & 4pm

Performing Artists in Residence Concert

Co-artistic directors Jeewon Park (piano) and Edward Arron (cello) present a special program of chamber music featuring Jennifer Frautschi (violin). The program includes:

Arabesque in C Major for Solo Piano, Opus 18 (1839) – Robert Schumann (1810–1856)
Duo for Violin and Cello, Opus 7 (1914) – Zoltán Kodály (1882–1967)
Arabesque No. 1 for Solo Piano, L. 66 (1888–1891) – Claude Debussy (1862–1918)
Piano Trio in B-flat Major, Opus 97 (“Archduke Trio”) (1811) – Ludwig van Beethoven (1770–1827)

A reception for the artists follows the program.

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