Institute of Contemporary Art

 Margaret Swan’s solo exhibition Flow investigates the duality of free-flowing forms versus structures of containment, choreographing an elegant dance between the two. The fluid, curving planes of her polychrome aluminum sculpture suggest movement, while contrasting latticed frameworks create tension and a sense of restraint. The final effect is that of water passing through nets or vessels—triumphantly finding its own way.

Through January 29 the Institute of Contemporary Art is displayng a gallery with 11 totemic ceramic standing figures by Rose B. Simpson. A graduate of RISD she grew up in a culture noted for its distinctive pottery created by her mother, Roxanne Swentzell, her late grandmother, Rina Swentzell and her late great-grandmother, Rose Naranjo.

Portia Gwen Harcus, 88, of Boston, passed away Thursday, July 14, 2022. Graveside services at Sharon Memorial Park, 40 Dedham St., Sharon, MA on Sunday, July 17, 2022 at 9:45 am.

Six Boston-based artists in Above Us Only Sky speak about the infinite and euphoria in dark times. Romantic hopeful dream-like paintings elevate while embracing the light and lightness via stellar cascades; avian night-flight and starlike bouquets; a luminous energy field; the legacy of passion; meditation and a flow state; community and seeking new worlds.

The Solomon R. Guggenheim Museum presents an exhibition devoted to Chilean artist, poet, activist, and filmmaker Cecilia Vicuña (b. 1948, Santiago), who has been based in New York for the last forty years.

El-Saieh (b. 1984, Port-au-Prince, Haiti; lives and works in Miami) creates paintings that dazzle with dense, all-over compositions of compact marks—achieved through painting, erasing, and abrading—often accompanied by atmospheric washes of bold color. His pictures test the limits of abstraction and perception with parts that resemble patterns, symbols, or even language, and a whole in which larger figures appear to coalesce, advance, or recede. Haitian vodou traditions inform his distinctive visual style, which also reflects influences from Abstract Expressionism and Surrealist automatism. 

Margaret Swan’s Lift, on view at Bostin Sculptors Gallery, December 9th to January 24th, features a new body of work exploring forces of nature in relation to structures that harness their power. The works are inspired by the rigging of sailing vessels,

After 22 years as a curator of the deCodova Museum, Dr. Nick Capasso, for the past 8 years has been director of the Fitchburg Art Museum. It is one of the poorest regions of the state. The community is 35% Latino and 55% of school children speak Spanish at home. The museum is unique for its bilingual initiatives and community outreach. There is diversity in all aspects of its exhibitions and programming. The museum shows New England artists. The collection has grown with an emphasis on photography, African, African American, and American art. Meeting daunting challenges the Fitchburg Art Museum is a remarkable success story.

Chris Busa, the son of the abstract expressionist, Peter Busa, cast a long shadow over the Provincetown artist’s colony. The 35th anniversary issue of Provincetown Arts Magazine will soon include a memorial to its publisher. He passed away in June 20 at the age of 73. We spoke and collaborated often here is an interview from April, 2015,

When I interviewed Alan Shestack in 1992 he had been MFA director for five years. It was a time of economic downturn and the museum faced an annual deficit of $3 million. We discussed ways in which the museum might meet this challenge including a relationship with a museum in Nagoya, Japan which it helped to launch and program. He spoke adamantly that selling works to cover costs violated the mission and covenant of museums and their donors.

On April 14, 2020 Alan Shestack passed away at 81. From 1987 to 1993 he was director of the Museum of Fine Arts. He was notable as a mediator and problem solver. As director he presided over 26 departments with an uneven distribution of resources and power. This interview took place not long after he arrived at the museum.

In 1983 the Museum of FIne Art organized a traveling exhibition A New World: Masterpieces of American Painting: 1760-1910. It toured the Corcoran Gallery of Art and Grand Palais in Paris, as well as being shown at the MFA. Artists and members of Boston's African American community protested that the exhibition did not include artists of color. In this 1984 interview former MFA director, Jan Fontein, discussed negotiatons to include the 19th century artist Henry Osawa Tanner. We also covered gaps in 20th century European and American art.

In a normal season the Hancock Shaker Village, which was founded sixty years ago near Pittsfield, is open from April through December. With spring planting and the birth of livestock this is a busy time of year. The annual Baby Animals Festival draws some 20% of annual visitation and 15% of earned revenue. We spoke with director Jennifer Trainer Thompson about strategies to function during the pandemic.

For decades artist, curator, installer James Manning has covered Boston's emerging artists and alternative galleries. Other than when Bill Arning was at MIT List nobody has made a greater effort to interact with emerging artists and their galleries. He had his own gallery Art Vigor in East Boston and was director of Gallery FX, a pioneer of the SOWA art district. This activity was rarely covered by the mainstream media. This is an attempt to document a vibrant era . From 2008 until his death in 2018 Manning worked with curator Joe Ketner at Emerson College.

Shortly after the exhibition Words & Images Allan Rohan Crite 1910 – 2007 opened the private St. Botolph Club was closed because of the pandemic. There is however a link to a video that provides a virtual tour of the exhibition. Crite is regarded as a leading Boston artist of his generation. He was a graduate of the Museum School. The Museum of Fine Arts is remiss in not planning a major exhibition of this remarkable and widely influential artist.

A native of Toronto, Matthew Teitelbaum, departed Boston in 1993 to take a curatorial position at the Art Gallery of Ontario. In this interview he was acting director of the Institute of Contemporary Art. Then 37, it provides insights of his curatorial vision and process. He went on to be director of the AGO. In 2015 he returned to Boston as director of the Museum of Fine Arts.

In 1968 the Institute of Contemporary Art was evicted from Newbury Street. Bag and baggage it was mothballed in its failed former home on Soldier's Field Road. Connected to new Mayor Kevin White and Deputy Mayor, Katky Kane, they gave Andrew C. Hyde a long shot at turning things around. The relaunch largely entailed embracing an emerging generation of artists which formed the Studio Coalition in 1969 and Boston Visual Artists Union in 1970.

When we spoke in 2000 the arts leader Ted Landsmark was director of the Boston Architectural College. He was on leave as chair of the board of the Institute of Contemporary Art but still serving on the board of the MFA. It was a time of transition and change. The ICA was constructing a new building on the waterfront. Its director, Jill Medvedow, was competing for funding with MFA director, Malcolm Rogers. Landsmark argued that they should be working together

Separately at Jewish Settlement houses Jack Levine and Hyman Bloom studied drawing with Harold Zimmerman. In 1929, when Levine was 14, they were instructed at the Fogg Art Museum by Harvard professor, Denman Ross. By the late 1930s, with Karl Zerbe, they gained national attention as Boston Expressionists. After a lapse of decades, through February, Bloom is featured in "Hyman Bloom Matters of Life and Death." The MFA has never given Levine the time of day. In 1986, while making a film with David and Nancy Sutherland, I interviewed Levine.

The Museum of Fine Arts last featured Boston Expressionist Hyman Bloom in a 1959 group show. The current exhibition Hyman Bloom Matters of Life and Death, curated by Erica E. Hirshler, attempts to make up for that lapse. The focus on cadaver paintings and drawings is bold and spectacular. The work is ghastly with haunting beauty. On a national level it is among the year's best museum exhibitions.

An exhibition of Vietnam protest paintings by Arnold Trachtman was censored and closed by the admninistration of Harvard University. We remounted it at the Institute of Contemporary Art then on Soldier's Field Road. That formed a professional and personal relationship. He was a part of a niche of major Boston artists that existed out of the mainstream, Yesterday he passed away in Cambridge at 89.

During a recent visit to the Museum of Fine Arts a school group was inappropriately treated in a blatantly racist manner. That has caught the museum, and its director Matthew Teitelbaum, in the cross hairs of media whiplash. There is a shameful legacy of racism and anti Semitism at the MFA. It will take decades to make appropriate changes.

“The Clark’s upcoming summer season is an ambitious program highlighting new discoveries and new initiatives,” said Olivier Meslay, Hardymon Director of the Clark. “We are truly energized by the opportunity to activate our entire campus by sharing exhibitions that will introduce our visitors—and the world—to artists whose work is vibrant, dynamic, and inspiring. This summer’s programs span more than one hundred years of artistic practice and explore a rich array of themes through both historic and contemporary lenses.”

A leading scholar of American Art, Patricia Hills curated major exhibitions for the Whitney Museum including "John Singer Sargent."Her books and catalogues range from Eastman Johnson, to Alice Neel and Jacob Lawrence. At Boston University she trained a generation of scholars and curators. As a Marxist she has been particularly involved in social justice projects.

Working "24/7" over several months the renowned, Williamstown-based artist, Barbara Ernst Prey, created Borrowed Light. The suite of watercolor renderings of interiors is on view in a converted chicken coop of Hancock Shaker Village. It is a part of expanded contemporary programming under the director Jennifer Trainer Thompson. She was a founding member of the MASS MoCA team. They have been neighbors and friends for many years. It was intuitive for them to undertake this remarkable project.