Institute of Contemporary Art

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.

Since the late 1960s I have curated and written about the work of the Cambridge based, activist and artist, Arhold Trachtman. A few of us- scholars, curators and critics- share a convicition that he is on the short list of most significant Boston artists of his generation. Given the highly charged and passionate focus of the work it has been in general too hot to handle for mainstream museums and curators. He has a staunch champion in Marjorie Kaye, the emeritus founder of Galatea Gallery, who co cuated the current exhiition with the artist's daughter Maxima Baudissin.

The renowned former Whitney Museum director, David A. Ross, in an exclusive statement posted to Berkshire Fine Arts strongly opposes plans initiated by the Berkshire Museum. “This is a sad affair. Perhaps the board, if unwilling to raise funds in the way all museums have to, should resign (along with its feckless director). My feeling is it should merge administratively with another educational non-profit in the region, and then begin the process of stabilization. It would be preferable to see the museum close for a few years of re-organization, than to forever destroy the core of its irreplaceable art collection.”

For a period of time in the late 1960s I worked in the studio of Pop artist James Rosenquist. He passed away recently at 83. When Jim first arrived in New York he painted billboards high above Times Square. He later used those techniques as a key but undervalued Pop artist.

When the Institute of Contemporary Art opened its waterfront home there were awards for the dramatic design by Diller Scofido and Renfro. Immediately, however, it was obvious that with 65,000 square feet, and just its top floor for exhibitions, there was no plan for expansion and growth. For the next five to ten years the ICA is leasing a 15,000 square foot industrial place in East Boston. Visitors will commute by ferry to the seasonal Watershed which opens in the summer of 2018.

Five Boston museum directors have signed a letter of concern over reports that the National Endowment for the Arts is under threat of being abolished, along with the National Endowment for the Humanities and the Corporation for Public Broadcasting. Under the conservative agenda of the Trump adminsitration this is an attack on the arts in America. Guarding the Trumps in NY, DC and Palm Beach for a week is on a par with endowment support.

London's newly opened Design Museum is the world's leading museum devoted to contemporary design in every form from architecture and fashion to graphics, product and industrial design. The Design Museum is now open in its spectacular new location on High Street Kensington. It is now a major venue to visit in London.

When Stefan and Linda Stux, with a partner, opened a gallery on Newbury Street in Boston in 1980 it was a year before they made a sale. The partner left and they continued to support the gallery while working full time jobs. His brother asked how long he intended to maintain his "museum." The answer was "forever." But now that day has come with the closing of the New York gallery after some 35 years of ups and downs. Stefan and Linda had an enormous impact during the era of Boston's cultural revolution in the 1980s.

In a period of radicalism and terrorism, Intersections serves as a beacon for remembering and cherishing the sensitive beauty of the best of Islamic creative culture. This is a must-see visual and environmental experience.

For decades, no centuries, public art in Boston was a bronze statue of mostly historical men sometimes on horses. Unlike most contemporary cities, there were few and mostly small examples of public art sprinkled throughout the city and the region. The long time Mayor Menino regime was frightened of public art. Conservative institutions and universities seemed to ignore what was happening outside the region as well. Public art was something other cities invested in, but not Boston. However, the year 2015 began to demonstrate that there was a new flowering of public art. And about time, too!