The theme, “Something Blue” kicked off the Museum of Fine Arts annual summer party with fantastical lights that illuminated the beautiful gowns on the steps of the Huntington entrance. This best dressed crowd of 25-46 year old revelers gathered to celebrate artist Juan Travieso and show their support for one Boston’s finest cultural institutions. Guests raised the fashion bar even higher this year, influenced I’m sure by the fact that Valentino was the lead sponsor. Boston and New York designer Michael DePaulo created a beautiful black, full petticoat, hi-lo gown with feathers and leather trimmings pour moi, while Abby Cushman stunned the crowd in a Michael DePaulo Valentino-red, floor length, off the shoulder trumpet gown. Blogger babes Jessica Diaz and Alisa Kapinos both sported floral—Jessica in a beautiful low cut, floral Alice and Olivia gown, which was news to me since I had no idea designer Stacey Bendet was doing ball gowns. But this was obviously a trend because Pia Miller, one of the co-chairs, also chose Alice and Olivia—a beautiful gold and auburn print floor length gown. Co-chair Dobrska had a gorgeous vintage white and lavendar floral gown. I admired creatives like jewelry designer Maria Stokalska, who put together unexpected fashion combinations for the evening with her emerald green knee length circle skirt and a silk animal top-perfect for the night.
Aside from the gowns, the highlight of the evening was Juan Travieso. An artist we claim as our own, he was trained at the MFA Museum School and has since moved to Miami, where I saw his beautiful murals on the Walls of Wynwood. Juan came to Boston for three days to create one of his signature murals and he enlisted a team of 5 local artists, (@graves_miller, @bruceybluejeans, @pt35mm, @farzanehsafarani, @paulkotakis), who were his cohorts at The Museum School. Working around the clock, they helped him finish the mural, each one being assigned separate triangles to paint to ultimately construct his Picasso-like, brightly colored, cubist mural with a deer head bursting out of the center.
The Summer Party kicks off the season for young and stylish Bostonians. A social calendar highlight for over ten years, this annual event raises vital operating support for the Museum of Fine Arts. A portion of the proceeds from this year’s Summer Party benefits an endowed Museum Council Special Exhibition Fund. I love supporting emerging artists and giving them this platform where art collectors, young and experienced, can bid on juried works of art. The event took place in the main gallery—50 foot ceilings, bodies bustling about taking pictures in front of the 10,000 pound, green glass Chihuly tree and partygoers snacking from the antipasto buffet. Ben and I snuck downstairs to view the Pupils of Hokusai Exhibit and unfettered by hoards of people, we sat in the calm, silent room, where our thoughts could roam as we pondered the beautiful Japanese paintings.
Aksyon presents, ‘Contemporary Haiti’, a fundraising Gala at the Museum of Fine Arts in Boston, featuring a headlining performance from Grammy-award winning Wyclef Jean, and a diverse group of superlative Haitian talent.
Aksyon was established to promote the richness of Haitian culture and highlight the innovation, artistry and works created by emerging Haitian artists and designers from the US and Haiti.
What: A special evening supporting Aksyonfeaturing:
— VIP Dinner Reception featuring Haitian fusion cuisine by celebrity chef Todd English
— Musical performance by Grammy-award and Haitian-American superstar – Wyclef Jean
— Artist Showcase- gorgeous, eye-popping, hand selected fashion, art and design from emerging Haitian artists and artisans
— After Party with Dancing and a Dessert Reception
— Online auction hosted by charitybuzz from Nov 10 – Dec 1 at www.charitybuzz.com/aksyon with incredible celebrity experiences, luxury travel and Haitian art
SATURDAY, NOVEMBER 19, 2011
7PM – MIDNIGHT
Museum of Fine Arts, Boston |
465 Huntington Avenue
Boston, MA 02115
TICKETS (PER PERSON) | $500 VIP & $250 Concert and After Party
For more information & to purchase tickets, contact:
P | (617) 778-5770
W | creativeeventsinc.com
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.
Just opened at the Museum of Fine Arts is Jewels, Gems, and Treasures: Ancient to Modern. The exhibit will be in the new Rita J. and Stanley H. Kaplan Family Foundation Gallery, a gallery devoted purely to jewelry exhibitions. The perimeter of the room is lined with lush jewelry and adornments, punctuated in the middle by a large glass case in which lies a chest. This intricately filigreed chest is covered with the richest golden amber, each piece ensconced lovingly within its setting. The whole exhibit was lit wonderfully, allowing each piece to glow, sparkle, and shine.
The concept for the show was to query our understanding of what is rare and valuable, and showcases jewelry made from a vast spectrum of materials – everything from shells and feathers to multiple carat diamonds. That means, in moving counter clockwise around the room, we see a transition from organic materials commonly found outdoors to semi-precious and precious stones, and then another metamorphosis into jewelry that doesn’t have worth due to how many carats the diamonds are, but how thoughtfully made the piece was.
While many entering the show were immediately drawn to the diamonds, a small Nubian pendant with a gold-cast head of Hathor draws my attention. It sits and glows regally, flanked by other Nubian ornaments. Reputedly it is the only one of its kind, since most of the smaller items in these Sudanese tombs were heavily looted. The pendant is said to be imbued with magic, and is used to protect the wearer against maleficent energies. Hathor seems aware of his worth; smugly sitting atop the clear stone, “size is not everything,” the small head seems to say.
Moving on through the exhibition, diamonds sparkle alongside deep amethysts, and one can see how severely cultural differences shape the aesthetics of jewelry-making.
Perhaps the most conceptually intriguing piece was at the end of the show, where a bangle with a large sphere of gold is coated in a thick layer of rubber, obscuring any of the precious materials used for its creation. Thus the worth of the bracelet is unbeknownst to all but the owner.
Jewels, Gems, and Treasures: Ancient to Modern will be on display until November 2012.
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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