Currently viewing the tag: "Museum of Fine Arts"

It’s a brand new year. And if one of your resolutions is to be a truly well rounded culture vulture, you’re in luck. We looked ahead to the first quarter of 2015, assembling a flock of diverse art outings that range from glossy, big-budget Broadway tours to edgier fringe theater, photographic exhibitions from pioneering artists to curious installations from under-the-radar names. This year, spread your wings — and open your mind — to encompass a greater swath of all that Boston’s impressive arts scene has to offer.

BREAD & PUPPET THEATER

BreadPuppet Mark Dannenhauer

Born within the 60s counter-culture movement, this Vermont-based theater troupe is known for its avant-garde use of progressive politicking puppetry: think oversized effigies of animals, Wall Street fat cats, and Uncle Sam used alongside song and dance to create curious — okay, often strange — spectacles that comment on everything from international wars to nuclear power. Bread & Puppet Theater’s run at the Cyclorama will feature two live shows: “Captain Boycott” and “The Nothing is Not Ready Circus,” both of which tackle themes of populist uprising. No matter where you fall on the left-right spectrum, you have to love such wonderfully wacky yet interminably heartfelt art.

Bread and Puppet Nothing is not Ready Circus
BreadPuppet3-Photo-Mark Dannenhauer

WHERE: Cyclorama at Boston Center for the Arts

WHEN: January 24 — February 1

 

MOTOWN THE MUSICAL

Motown the Musical

Not all jukebox musicals are created equal. And “Motown” has met with mixed reviews since its Broadway premiere in 2013, with some critics irked by its overstuffed songbook of 60+ recognizable hits — many reduced to only partial versions. But the story of Berry Gordy’s Detroit-based Motown record label, famous for churning out era-defining records by black artists like Diana Ross, The Four Tops, and the Jackson 5, feels especially relevant in 2015, when the popular music industry is finally beginning to have important conversations about cultural appropriation. (It’s been a bad year for Iggy Azalea.) Don’t want to think that hard? Kick back and enjoy the tunes. There’s a lot.

WHERE: Boston Opera House

WHEN: January 27 — February 15

 

GORDON PARKS: BACK TO FORT SCOTT

Born in 1912 in the small Midwest city of Fort Scott, Kansas, Gordon Parks had a childhood of hardships: from the death of his mother, who left behind 15 struggling children, to the pervasive racial discrimination that accompanied life for an African-American man. But in 1948, he became the first African-American photographer to be hired full-time by “LIFE” magazine, and soon after returned home to capture a visual essay that reconnects the shutterbug artist to his hometown — full of pleasant memories, and many painful ones too.

WHERE: Museum of Fine Arts

WHEN: January 17 — September 13

Sex-drenched nudes. Cheeky A-list party scenes. Sultry model-motifs. Elegant royal family portraits?

Is it possible to be one of the greatest provocateurs in fashion photography AND be the favorite family photog among British Royalty for over a decade?

It is and Mario Testino has been that photographer for 30 years– and refuses to stop anytime soon. styleboston takes a look at the man behind the camera.

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Recently the Museum of Fine Arts, Boston unveiled its new Linde family Wing for Contemporary Art.  While the MFA has always possessed a fairly incredible collection of Impressionist and early American artworks, it has never had much of a reputation for its contemporary collection.  The opening of this wing appears to be the first step in changing that perception, if admittedly a bit late to the game.

The new space is located in the west-facing building, designed by I.M. Pei. It’s a rather awkward modernist space, one that the Museum has had difficulty in using effectively. But the whole of the space has been revamped, and successfully.

Over 200 contemporary works will be featured in the new wing and surrounding spaces. In one particularly arresting instance, a flashing chandelier is suspended from the ceiling, both a functional object and a piece of art. A section of the floor vibrates and resonates with the low frequency sound of bubbles escaping from massive ice flows. If nothing else, the MFA deserves credit for its curatorial creativity.

While some of the work has, on more than one occasion, occurred to me as a bit too Museum of Science, it is clear that the MFA is finally trying to transform their space into one that is more welcoming and engaging of the younger generation — the generation that will presumably be its new benefactors.

Most exciting is the MFA’s small gallery dedicated purely to video and multimedia artwork.  It is about time that the Museum begins to accept the significance of multimedia art in the contemporary scene, and a gallery that honors these models of art is long overdue.

During the preview of the Linde Family Wing, Malcom Rogers (Ann and Graham Gund Director of the MFA) and Edward Saywell (chair of the Linde Family Wing for Contemporary Art) repeatedly emphasized the unique combinations of the artworks shown, pairings that adduce the dialogue that has existed between artists of the past and the present over the last 100 years or so.   The connections made range from the blatantly obvious (i.e. a Lawler photograph next to the Monet that was originally appropriated), to substantially more thoughtful pairings, my personal favorite being a Morris Louis painting against Lynda Benglis’ “Wing,” a painterly, flowing aluminum-cast sculpture that is the perfect 3-dimensional counterpart to Louis’ poured paintings.

It would appear the MFA might be the unassuming tortoise when it comes to contemporary relevance in Boston. Whether this nascent promising persistence will win the race remains to be seen.

You probably already know that the Museum of Fine Arts has opened the first gallery in the United States dedicated exclusively to jewelry. What you may not know is that the MFA was also the first museum to dedicate a curatorship to jewerly, as well. I caught up with Yvonne Markowitz, the Rita J. Kaplan and Susan B. Kaplan Curator of Jewelry , to discuss her role at the MFA, her fascination with Egypt, and her own jewelry designs.

KCQ: Let’s start at the beginning: you’re a renowned specialist in Egyptology. What drew you to Egypt?
YM: It was actually a second career. I was an art therapist for many years and worked for the Commonwealth of Massachusetts. I burned out and my husband said, ‘Why don’t you do something that you really would like to spend the rest of your life doing?’ I always had a passion for Egypt, so I went to Brandeis because they had a great graduate program there. Then I came to work at the MFA.

KCQ: Where does your passion for jewelry come from?
YM: My specialty in Egyptology is ancient jewelry so I spent a good deal of time working on art-excavated collections of Egyptian ornament. Also, the Museum, along with Harvard University, spent several decades excavating tombs in the Sudan, which is ancient Nubia. Nubia and Egypt had a very close relationship in antiquity. We have a wonderful collection of excavated material from Nubia also. Basically that is how I spent my research days here.

KCQ: If you weren’t working at the MFA, what other profession could you see yourself doing?
YM: Well, I make jewelry. I like working with unusual natural specimens, particularly rutilated quartzes and clear quartzes that have pieces of needles made of copper and other metals. The way the needles are arranged in the stone gives the lens a certain type of geometric appeal to me, somewhat random but quite beautiful.

KCQ: Do you have a focus in your jewelry? Earrings? Bracelets? Necklaces?
YM: Primarily pendants or necklaces.

KCQ: Clearly, you get your hands on some of the world’s most remarkable jewelry. Do you have a favorite piece from the exhibition?
YM:I have a couple of favorites. One is the ancient Nubian Hathor pendant. It has the image of the head of the goddess Hathor, she’s the cow goddess. So her sundress is a sun disk with cow horns. Her head rests on this rock crystal orb and in the center there is a gold tube that probably contains a magical piece of folded gold with text on it or images. And I really like the Colt diamond necklace.

KCQ: Tell me about the latter piece.
YM: That was a necklace given in 1856 by Samuel Colt, the gun merchant, to his bride Elizabeth Jarvis, with matching earrings.

KCQ: As the first jewelry curator in the U.S. you are in charge of overseeing the Museum’s extensive jewelry collection. Could you expand more on your position at the MFA?
YM: I guess the most enjoyable part is I get to handle research and write about the collection. I also make recommendations for purchases for acquisitions. I work with donors, donors who are very generous in gifting us wonderful pieces of jewelry or providing funds for us to purchase objects. And I write books and I put on exhibitions.

KCQ: Having studied ancient and contemporary jewelry, do you have a preference?
YM: I like good design, all times, all places. If the piece is well made and the design is good, it appeals to me. Of course, I always have a soft spot for ancient jewelry because I spent a lot of time particularly with ancient Egyptian beadwork. But I like modern studio jewelry also. We have a wonderful collection of contemporary studio pieces, a collection that was given to us in 2006, the Daphne Fargo collection of studio jewelry that is probably the best of its kind in the United States.

KCQ: Do you have a favorite piece of jewelry that you own or have made?
YM: I have some pieces that are favorites because jewelry is unlike most art forms in that it is personal and most we often associate it with special events, rights of passage. So, the wedding band my husband gave me I value. It’s a simple Tiffany ring.

KCQ: Any others?
YM: There is a piece I made, a piece that I like a lot. It’s a piece with rutilated quartz that looks like an abstract landscape of sand dunes with wire grasses just because of the way the rutilation in the quartz are arranged. I put it in a simple bezel and where a sun would be I drilled through the quartz and a diamond has been set in that. It is a diamond sun.

KCQ: Any sources for fellow jewelry enthusiasts who may not have your access to such incredible pieces?
YM: Skinner. They have four jewelry auctions per year.

KCQ: As a keeper of jewelry, I’d think you must be quite conscious of where you place your jewelry. Do you store your unworn jewelry in a jewelry box?
YM: I actually keep each piece in an archival plastic bag. A wooden box is a very bad place to keep jewelry because the wood is acidic and it makes silver tarnish faster. I keep only archival museum-like conditions for my jewelry. And I store them in archival boxes. I have a box for bracelets, a box for rings, necklaces.

KCQ: What’s one piece of jewelry you’ve misplaced that you wish you could go back in time to retrieve?
YM: It was a bracelet that was given to me when I was a young child. It was a gold bangle and I wore it for many years. I thought I misplaced it in the house. But it was never found.

KCQ: When I’m having a bad day, I am guilty of indulging in retail therapy. Do you ever go on therapeutic jewelry shopping sprees?
YM: No, I think I am pretty calculated in the way I go about it. I am more likely to eat chocolate for therapy!

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