Institute of Contemporary 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.

The special exhibition "Shame and Prejudice: A Story of Resilience" by the First Nations artist Kent Monkman is a game changer. With ferocious wit the artist deconstructs horrific aspects of Canadian history through a series of narrative, social realist paintings. We viewed the work at the McCord Museum in Montreal where the traveling exhibition closed on May 5.

Since the 1960s and Perry T. Rathbone I have interviewed every director of the Museum of Fine Arts. Sitting recently with Matthew Teitelbaum was refreshingly different. We were renewing a relationship that started in 1989 when he was a curator for Boston's Institute of Contemporary Art. In 1993 he returned home to become senior curator at Toronto's Art Gallery of Ontario. He became director there before coming to the MFA in 2015 as its eleventh director. While in the thick of staff changes and policy strategies he invites us to evaluate progress over the next five years.

In 2017 San Fransicso celebrated the 50th anniversary of the Summer of Love. By 1968 the torch of the counterculture, with a radical twist, was passed to Boston. Cops and feds cracked heads when hippies and radicals protested in Boston and Cambridge. Just as in 1776, there were shots heard round the world. There has been no such celebration in Boston. In feisty increments there is ever increased interest and attention to a forgotten era. You can see it at The Verb Hotel, in the new film WBCN; The American Revolution, and books like Astral Weeks: A Secret History of 1968.

With the passing of Arthur Polonsky (June 6, 1925 - April 4, 2019) the last link to the greatest generation of Boston artists has been broken. They are known and somewhat misrepresented as The Boston Expressionists.

Brian Coleman has published several successful books on hip-hop. The latest of which is a picture book “Buy Me Boston: Local Ads and Flyers, 1960s – 1980s, Volume 1.” It is compiled from thousands of scans of pages of vintage publications.

As a junior at Boston University, John Sdoucous, worked with George Wein promoting the Newport Jazz Festival launched in 1954. By 1968 he was booking Summerthing for the City of Boston. He got Janis Joplin on stage at Harvard Stadium in 1969 and launched Concerts on the Common in 1970. He continues to book concerts and festivals all over America. For Sdoucos it all started in Boston.

Although it is the first full biography of Bauhaus master, Josef Albers, it has been worth the wait. Charles Darwent has writen a meticulous, insightful, absorbing and masterful book. Best know for the 2,300 surving works from "Homage to the Square" he is regarded as among the foremost abstract artists and teachers of the 20th century.

Amigos: Charles Giuliano, Robert Henriquez, David Zaig is the final exhibition of the season of Eclipse Mill Gallery in North Adams. The commonality of these Berkshire based artist friends is the scale and ambition of their work. The exhibition opens on Friday, November 16, 5 to 8 PM.

When the ICA opened its new home on the edge of Boston Harbor its fatal flaw was immediately obvious. While praised for dramatic design with development of surrounding towers it was soon hemmed in with no space for expansion. In a bold move it has now reached across the harbor to fast changing East Boston. A former factory has been reconfigured as Watershed. It combines generous exhibiton space with opportunities for meetings, education, and community programming. A long time community activist Frank Conte covers the launch which opens with free admission on July 4.

Until recently the Museum of Fine Arts has neglected artists of Jewish heritage known as The Boston Expressionists. There were a handful of works that were burried in storage. Major works by Hyman Bloom and Karl Zerbe were included in a gift from Saundra B. Lane and William H. Lane. The museum is planning a major exhibition and catalogue for Bloom. It is likely that there will be other projects and publications. There are no current plans for showing or collecting works by Zerbe and Jack Levine.

Known for its cutting-edge and often transformative shows about art and technology, Boston Cyberarts has recently presented two inspired gallery exhibitions as well as unconventional outdoor exhibits presenting examples of augmented reality art.

A Berkshire Fine Arts contributor, the renowned arts critic, David Bonetti, was found dead in his Brookline, Mass. apartment while listening to classical music. His writing career started with Art New England and the Boston Phoenix. He joined the San Francisco Chronicle and then St. Louis Post Dispatch. After that he retired writing the occasional feature on the fine arts. In his final years he wrote on opera for this site. He was widely regarded as one of the best critics of his generation.