Tag : Massachusetts

thumbnail Jan 8

Alchemy of the Soul: Maria Magdalena Campos-Pons, at Peabody Essex Museum, Salem

January 9 – April 3, 2016

The Peabody Essex Museum,
East India Square (161 Essex St)
Salem, Massachusetts 01970


Alchemy of the Soul: Maria Magdalena Campos-Pons
presents the most ambitious collaboration between the Afro-Cuban artist and her husband, musician and composer Neil Leonard. Through large-scale blown glass sculptures, paintings, photographs, and evocative soundscapes, the artist draws on the structural forms found in the abandoned sugar mills and rum factories of her childhood island home. Incorporating the sweet smell of rum, this multi-sensory exhibition creates an intoxicating reconceptualization of the often-brutal history of the Cuban sugar industry, offering a visceral experience that ignites the senses and our emotional awareness of place, memory, identity and labor.

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thumbnail May 27

Teresita Fernández: As Above So Below at MASS MoCA, Massachusetts

On view beginning May 24, 2014

MASSACHUSETTS MUSEUM OF CONTEMPORARY ART
1040 MASS MoCA WAY    
NORTH ADAMS, MA 01247

Demonstrating the artist’s remarkable ability to transform materials and their surrounding architecture into an enveloping perceptual experience, Teresita Fernández: As Above So Below combines graphite and gold to create a series of immersive, interconnected installations whose scale shifts from intimate to vast, from miniature to panoramic. Fernández’s largest solo exhibition to date, As Above So Below is made up entirely of new works.

Describing a universe in balance, the phrase “as above, so below” originates from the ancient Hermetic tradition central to alchemy, in which every action occurring on one level of reality (physical, emotional, or mental) correlates to every other. Responding to MASS MoCA’s massive and light-filled first-floor galleries, Fernández’s trio of new landscape-informed, large-scale installations embodies this expression, and is united through the show’s elaborately detailed exploration of two essential minerals.

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thumbnail Sep 25

Maria Magdalena Campos-Pons: “My Mother Told Me” at Tufts University, MA

September 5 – December 8, 2013

 

Tufts University Art Gallery
Tisch Gallery
40 Talbot Avenue
Medford, MA 02155

Internationally recognized for her large-format Polaroid photographs and immersive, multi-media environments, Boston-based, Afro-Cuban artist Maria Magdalena Campos-Pons has pioneered a distinctive aesthetic melding photography, performance, video, sound, and sculpture. Her work has largely addressed autobiographical issues such as her relationship with her mother and with Cuba, motherhood, family, exile, and, the sugar industry and slave trade in Matanzas, her hometown. She is descended from Nigerian/Yoruban, Chinese, and Hispanic ancestors and her work is infused with the spiritual traditions of her multi-ethnic heritage.

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thumbnail Sep 16

Carmen Herrera in group show IMAGE TRANSFER, at MIT List Visual Arts Center, Massachusetts

September 9, 2011–January 13, 2012

The Dean’s Gallery, the MIT Sloan School of Management

30 Memorial Drive, Building E60
Third Floor, Room 300
Cambridge, MA 02142

A number of technologies make it possible for an artist to produce multiple versions of an original design. Selected from the MIT List Visual Arts Center’s Permanent and Student Loan Art Collections, works in this exhibition highlight a range of image transfer techniques and consider how an artist’s choice of reproduction technology can operate in relation to the image reproduced.

Screenprinting is the image transfer technology used by a number of the artists in the exhibition, a process wherein a fine mesh-like screen is stretched across a frame, itself hinged to a baseboard, and a stencil is attached to the screen. A support such as paper is placed below the screen and a squeegee is used to push ink across the screen and to areas on the support not masked by the stencil. The empty intersections delineating Carmen Herrera’s works from 2009 makes plain the presence of the stencil in their construction; the prints do not represent themselves so much as establish connections with surrounding space and the process whereby they came into being. Mel Bochner’s Untitled, 1984, investigates the relationship of thinking, seeing, and drawing and how this can be held in tension with the mechanical repeatability of the screenprinting process. What appears to be erasing in the work is actually masking by the stencil, while the drips and irregularities makes evident the dimension of time—both human and technological—in the process of the work’s creation.

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