Museum of Fine Arts

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.

The retrospective "Philip Guston Now" was scheduled to open in June 2001 at the National Gallery. It would travel to the Museum of Fine Arts, Houston, then to Tate Modern in London, and finally, the Museum of Fine Arts, Boston. Of 125 paintings and 75 drawings some 24 works caricature the Ku Klux Klan. Fearing backlash the museums have postponed to 2024 to develop programming that contextualizes the work. The MFA has a history of ambivalence to the artist's work. From 1973 to 1978 he taught a graduate seminar at Boston University.

George Crossan Seybolt (1915-1993) was president and chairman of the William Underwood Company, best known for its canned Deviled Ham. He was recruited to the board of trustees by the director, Perry T. Rathbone. When be became president of the board there was constant conflict. Seybolt mico managed the museum and ousted Rathbone over the Raphael incident. His personal appointment for director, Merrill Rueppel, proved to be a disaster. He was fired after a Globe exposé. Seybolt went on to be a museum lobbyist and visionary. It's what we discussed in 1977.

Elsa Dorfman was the limner of the Beat Generation. She made deadpan, large-format Polaroid potraits of her celebrity pals as well as ordinary folks. She passed away a few months ago but is superbly recalled in a Netflix documentary by Errol Morris. It's so like Elsa who is regarded as a major artist but described herself repeatedly as a "nice Jewish girl."

How one man lovingly – and obsessively - constructed his very own movie palace in the basement of his suburban home.

During the pandemic Northeastern University has restricted access to artists in its historic African American Master Artists in Residency Program. It was founded in 1978 by Dana C. Chandler, Jr. Speaking out against the university for its actions against AAMRP is Dana Chandler III the son of the founder,

When the British born Malcolm Rogers took over the Museum of Fine Arts in 1994 it had a $4.5 million annual deficit and was generally moribund. It was better than he found it when he departed in 2015. He left a bricks and mortar legacy of The American Wing designed by Lord Norman Foster. Under a mantra of One Museum, however, he dismantled the traditional departments, fired renowned curators, or forced them to leave. He created a structure of mega departments staffed by cooperative curators. The current director, Matthew Teitelbaum, inherited a debt of $140 million and is tasked with mending curatorial fences.

MFA director Jan Fontein first apppointed John Walsh as curator of European Paintings then Theodore E. Stebbins as curator of American Paintings. In this first of our two part coverage Stebbins discusses the M&M Karolik and William H. and Saundra Lane collections. On his watch Stebbins acquired major American, modern and contemporary works. His legacy for the museum and in the field is formidable.

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.

MFA director Jan Fontein appointed Theodore E. Stebbins, Jr. as John Moors Cabot Curator of American Art. For three years he was also head of the departments of American and European painting as well as the department of 20th century art. He acquired 600 works for the museum including 100 from the Lane Collection of American modernism. In terms of acquisitions and exhibitions few curators compare to his impact on the museum. \

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.

At 83 the reowned portrait photographer, Elsa Dorfman, passed away at home in the People's Republic of Cambridge. As a young women she worked for Grove Press in New York. There she met many writers including Allen Ginsberg who became a lifelong subject and friend. I included her in exhibitions and wrote about her for Art News.

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.

Because of the Raphael Incident, Perry T. Rathbone. was forced out as director of the Museum of Fine Arts in 1970. The board president, George Seybolt, who ousted Rathbone, then passed over acting director, Classical curator, Cornelius Vermeule, to unilaterally appoint a dark horse candidate, Merrill Rueppel. That ended with a curatorial coup from which Asiatic curator, Jan Fontein, emerged as acting director in 1975. He calmed troubled waters and acccomplished much through 1987. From April 1983, this is the first of two transcribed interviews.

There were incidents of racism when a school group visited the Museum of Fine Arts on May 16, 2019. Attorney General Maura Healey has negotiated an agreement between the Museum of Fine Arts and Boston’s Helen Y. David Leadership Academy. The settlment comes with an apology as well as a commitment of $500,000 to address issues of racism

To mark the beginning of another month in this surreal and uncertain time, Gallery NAGA will present the third solo exhibition of glowing, ephemeral paintings by Nicole Chesney and luscious, Irish landscapes on paper by Rick Fox.

The status of the Italian poet, essayist and gallerist, Mario Diacono, is legendary. To be with his wife Claudette, a native of Lynn, Mass, he moved to Boston and opened a gallery in 1985. He was renowned for showing a single work for which he wrote scholarly essays. Then relatively affordable he made few Boston sales of the now renowned artists he exhibited. The Museum of Fine Arts bought a Ross Bleckner painting and appropriation by Sherrie Levine. Most of the work was acquired by the Italian collector Achille Maramotti. Today Diacono is a curator for Collezione Maramotti.

From 1987 to 1993 Alan Shestack was director of the Museum of Fine Arts. He followed Jan Fontein who was director from 1975 to 1987.

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.

Gallery NAGA, with a lease from Church of the Covenant, was organized as a cooperative in 1977. In 1982 Arthur Dion was hired as director and soon became sole owner. With a commitment to painting and studio furniture it prevails on what was formerly Boston's gallery row. Now director emeritus Dion stepped away from daily management. As part of compiling an oral history of contemporary art in Boston, Dion shared insights of his remarkable career.

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

The documentary filmmaker, David Sutherland, describes his approach as making portraits. The issues derive from the persona of his subjects which range from farmers, to teenagers coming of age in Appalachia, a battered Native American mother, to the artists Jack Levine and Paul Camus. In the past 20 years he has created 21 hours of film for long form documentaries featured on Frontline for PBS. His three-part series “The Farmer’s Wife” was a PBS hit with 18 million viewers.

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.