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

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.

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.

During graduate study at Boston University photographer Carl Chiarenza was a professor, mentor and friend. We spoke at length about how JFK and the Vietnam War nudged him into studying art history. At Harvard he was the first American to write a dissertation on photography. It was a biography and critical study of then living American icon Aaron Siskind. Now retired from the University of Rochester he continues to create new work.

On the occasion of the 100th anniversary since his death the Clark Art Institute has organized a scholarly exhibition Renoir: the Body, the Senses. At his best few 19th century masters can match his charm and popular appeal. His greatest works were included in the 1985-1986 blockbuster exhibition Renoir, which was shown in London and Paris before it came to the Museum of Fine Arts, Boston. It broke MFA records with 500,000 plus visitors. The Clark show by comparison is small and uneven.

In a relatively short time Real Eyes Gallery. located in the heart of Adams in the Berkshires. is notable for programming museum level exhibtions. Marjorie Minkin: The Shape of Light sets the bar high. Gallerist Bill Reilly has been able to work with artists from an expanding and ever more remarkable community of artists. How long can MASS MoCA ignore phenomenal work being created in its own back yard?

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.

During a recent road trip we visited museums in Montreal, Ottowa and Toronto. We noted different strategies to intergate First Nations artists into special exhibitions and permanent collection galleries. A third of the exhibition space of the Art Gallery of Ontario in Toronto features First Nations artists. With an unfavorable comparison only a handful of American museums have a commitment to feature Native American art and culture.

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.

The special exhibition “Toulouse Lautrec and the Stars of Paris” is a collaboration of the Museum of Fine Arts and The Boston Public Library. Their great combined depth in prints and posters is supplemented with loans from other museums. In addition to his signature graphic works the exhibition is expanded with paintings, photographs, and sculptures by other impressionist and post impressionist artists.

In 1919 Walter Gropius retrofitted the Grand-Ducal Saxon School of Arts and Crafts into what he dubbed Bauhaus. In its centennial year there are global celebrations through media coverage, publications and exhibitions. It has been reported that there are 600 shows in Germany. We have been reading and visiting work on view at the Museum of Fine Arts and some 200 objects from the 50,000 donated through Gropius and others to Harvard University. He joined the Graduate School of Design as its director in 1937.

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.

Founded shortly after World War I in Germany, the Bauhaus was the most famous and influential avant-garde art and design school in the 20th Century. Its artists, architects, designers craftpersons and students generated a creative, all-encompassing conversation about the nature of architecture, art and design in the modern era. Over the course of its relatively short, 14-year history, Bauhaus was at first located at Weimar, then Dessau, and finally Berlin (closed by order of Nazi Party, 1932). Outside of Germany, Harvard University became the center for all things Bauhaus

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.

In flagrant violation of the will of Isabella Stewart Gardner the museum's greatest masterpiece Titian's "The Rape of Europa" has been cleaned for the first time and is about to be loaned for up to two years. She stipulated that “[I]f [the trustees] shall at any time change the general disposition or arrangement of any articles which shall have been placed in the first, second and third stories of said Museum at my death,” then the entire collection, the museum building and property would be given to Harvard University to be sold.

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.

With 154 Years of Serendipity the artists Roger Kizik and Clara Wainwright celebrate their creaitive friendship with an exhibition at Kayafas Gallery in Boston's SOWA district. John Walsh, Director Emeritus of the J. Paul Getty writes about the pairing of Wainwright & Kizik.

In 1978, at Boston's Atlantic Gallery, Jay Jaroslav displayed large, photo realist facsimiles of appropriated birth certificates. The certificates of infants roughly the artist's age had died within a week of birth. He used them to obtain social security, passports and driver's licenses to create 31 purloined identities. The current exhibition at Trident Gallery, his first solo in three decades, further explores documents and process as conceptual art.

Over the past two years, Jane Hudson has been exploring the relationship of color and form, reflecting on the work of early Modernists, e.g, Kandinsky, Miro and Sonia Delaunay. The medium is gouache wherewith one may explore the washes of watercolor as well as the opacity of denser media (acrylic, oil). This versatility allows for the layering of color within active geometric forms.