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The 13th Fort Point Artwalk was 4 to 7 today. (Saturday and Sunday, the Artwalk will be 12 to 5.)

We got started a little late because we had dinner first at Trade, but we definitely enjoyed what we had time to see.

The Boston Design Museum at the corner of Melcher and A streets had art made of moss in frames that caught my eye. We also liked seeing the models for the Street Seats contest that I blogged about a while back.

Across the way, Ari Hauben’s show was energetic and amusing. Hauben teaches art to kids with special needs in Boston, and he has strong feelings about the country’s current emphasis on standardized tests — especially for the student population he knows best.

He and an optical-engineer friend from Rochester, NY, acquired 50 Melcher Street, and for the current show, Hauben papered the floor with standardized tests. He put up large, green chalk boards with pedagogical insights and opportunities for guest commentary.

And he was eager to explain just how he creates the current works from Instagrams sent him by friends. The website says,  “His style could be defined as blending pop and street art techniques into mixed media works. The process predominantly involves newspaper, epoxy, spray paint, and layering techniques that are integrated into a variety of visual platforms.”

The prices are indicated by grades: A, B, C, D, F. I especially liked a picture of weathered yellow sheds and the work called Peach Farm, below. Lots more variety, here.

WCVB’s Chronicle interviewed Hauben here.

Art: Peach Farm by Ari Hauben

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Author-illustrator Jarrett Krosoczka knows the power of a kind word. He found his calling largely because of two words from a children’s book author who visited his elementary school class.

And he got through a difficult childhood nourished on the kindness of strangers, including lunch ladies, an unjustly maligned species he has honored in a superhero series. (“Serving justice! And serving lunch!)

Linda Matchan has a lovely story at the Boston Globe about Krosoczka.  (I want to call your attention to how nicely she describes him, here: “with impossibly spiky hair that looks as though he penciled it in himself.”)

“Until recently,” writes Matchan, “Krosoczka was very guarded about his childhood. That changed last October when he got a call from the organizer of a TEDx program at Hampshire College, modeled after the TED Talks series. …

“Scrambling for a topic, his wife urged him to talk candidly about his childhood. With no time to come up with other options, he delivered a moving talk about his early years and the people who inspired and encouraged him. The talk caught the attention of the TED editorial team, which featured it in January on TED.com.

“He spoke in his talk about his mother — ‘the most talented artist I knew’ — who was addicted to heroin and often incarcerated. ‘When your parent is a drug addict it’s kind of like Charlie Brown trying to kick the football … Every time you open your heart, you end up on your back.’ …

“Third grade was the year something ‘monumental’ happened. Children’s book author Jack Gantos came to his school to talk about what he did for a living. He wandered into the classroom where Krosoczka was drawing, stopped at Krosoczka’s desk and studied his picture.

“ ‘Nice cat,’ Gantos said.

“ ‘Two words,’ said Krosoczka, ‘that made a colossal difference in my life.’ ”

More.

Photo: Bill Greene
Jarrett Krosoczka declared May 3 (his favorite lunch lady’s birthday) “School Lunch Superhero Day.”

Author-illustrator Jarrett Krosoczka knows the power of a kind word. He found his calling largely because of two words from a children’s book author who visited his elementary school class.
And he got through a difficult childhood nourished on the kindness of strangers, including lunch ladies, an unjustly maligned species he has honored in a superhero series. (“Serving justice! And serving lunch!)
Linda Matchan has a lovely story at the Boston Globe about Krosoczka.  (I want to call your attention to how nicely she describes him, here: “with impossibly spiky hair that looks as though he penciled it in himself.”)
“Until recently,” writes Matchan, “Krosoczka was very guarded about his childhood. That changed last October when he got a call from the organizer of a TEDx program at Hampshire College, modeled after the TED Talks series. …
“Scrambling for a topic, his wife urged him to talk candidly about his childhood. With no time to come up with other options, he delivered a moving talk about his early years and the people who inspired and encouraged him. The talk caught the attention of the TED editorial team, which featured it in January on TED.com.
“He spoke in his talk about his mother — ‘the most talented artist I knew’ — who was addicted to heroin and often incarcerated. ‘When your parent is a drug addict it’s kind of like Charlie Brown trying to kick the football … Every time you open your heart, you end up on your back.’ …
“Third grade was the year something ‘monumental’ happened. Children’s book author Jack Gantos came to his school to talk about what he did for a living. He wandered into the classroom where Krosoczka was drawing, stopped at Krosoczka’s desk and studied his picture.
“ ‘Nice cat,’ Gantos said.
“ ‘Two words,’ said Krosoczka, ‘that made a colossal difference in my life.’ ”

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Check out Big, Red & Shiny, “a non-profit arts organization and online art journal [set up to] commission and publish articles, essays and reviews that explore the theory, history and reception of art in its current conditions.”

A tweet sent me to BR&S, where I learned about a special art installation that was hung in the MassArt courtyard on Tuesday.

Stephanie Cardon of BR&S writes, “This is the story of how one student’s year long effort has brought solace and joy to a community when it is most needed. In spite of the crystalline air and brilliant sunshine, Tuesday morning was dark for Bostonians near and far. … Yet, serendipitously, it was on this day that Leah Medin poured a sheet of gold, soft as a caress and reaffirming as a cheer, onto many wounded hearts.

“Her gesture was simple, but took months of planning and painstaking work. While carefully conceived, her sculpture unintentionally came to represent the soaring expression of spirit many of us so desperately needed to find that very day.

“I met with Medin to talk about the timely unfurling of her piece, The Gold Divide, in MassArt‘s central courtyard. For those who witnessed it, the hushed voices spoke of awe and wonder and hope. I was curious to hear how the sculpture had come about, and how its transformation into a symbol affected her.

” ‘What happened Tuesday was everything I wasn’t expecting,’ she said about the overwhelming public response. After all, Medin had been planning this piece for over a year. It all started during her junior year abroad in Amsterdam, where she would ride her bike all around the city. As she biked, she took in the sun and the air.

“The fabric — 440 yards of gold crystal nylon organza stitched in 57 foot long panels — was inspired by these outings, by the sense of freedom and exhilaration they contained, by the light.  …

“On the day of the Boston Marathon, Leah Medin was still hard at work in an empty school, putting the finishing touches on the cloth, reinforcing its seams. When she heard what had happened off campus, while she was quietly and solitarily working to meet her deadline, she had a moment of doubt. ‘I called my mom. I wasn’t sure I should stick with it. She told me that now more than ever it was important to bring something beautiful to people.’

” ‘I’ve been waiting for this for a long time. Then, all of a sudden, there were all these eyes on it. On my baby! It was touching the surface and reaching inside the buildings, caressing the people, running along the ground.’ …

” ‘A lot of people have come up to me and said thank you. I don’t even know many of them. We give each other hugs.’ ” More.

See more of Leah’s work at leahmedin.com

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Anna%20Ancher.%20%22Breakfast%20before%20the%20hunt%2C%22%201903.%20On%20view%20at%20the%20%22A%20World%20Apart%3A%20Anna%20Ancher%20and%20the%20Skagen%20Art%20Colony%22%20exhibit%20at%20the%20National%20Museum%20of%20Women%20in%20the%20Arts.%20%28Courtesy%20Skagens%20Museum/%29

Anna Ancher painting from the Skagens Museum: “Breakfast before the hunt,” 1903.

Kristina often gives me her Women in the Arts magazine after she’s done with it. This time I was particularly taken with a story on a show in Washington called “A World Apart: Anna Ancher and the Skagen Art Colony.”

DeNeen L. Brown writes that among the 64 paintings and oil sketches, the depiction of light is breathtaking.

She says, “At its height in the 1880s and ’90s, Denmark’s Skagen Art Colony attracted dozens of artists who were drawn to the isolated fishing village by the light and the unspoiled land- and seascapes.

“While the exhibition focuses on Ancher, the most prominent woman, it also includes works by her husband, Michael Ancher, as well as Laurits Tuxen, Viggo Johansen, Christian Krohg, Oscar Bjorck, Holger Drachmann, Carl Locher and P.S. Kroyer, whose large-scale oil paintings capture the ‘heroic’ life of fishermen in Skagen. …

“Ancher, who was the only native of Skagen among the artists in the colony, became an icon in Denmark not only for her art but for breaking social boundaries. She was a wife and mother who painted at a time when most women abandoned work after they married and had children. She also painted during an era when women were prohibited from studying at the Royal Danish Academy of Fine Arts. …

“The Skagen colony artists became known as part of the modern breakthrough movement, shrugging off the academic tradition of neoclassical painting styles preferred at the Academy of Fine Arts in Copenhagen and building on realist, naturalist and impressionist movements to depict everyday life and everyday people in an unidealized way.” More.

In case you should be in Washington in the next few weeks, the show runs through May 12 at the National Museum of Women in the Arts.

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Photo from FBI site: An empty frame in the Dutch Room of the Gardner Museum, where Rembrandt’s The Storm on the Sea of Galilee and A Lady and Gentleman in Black once hung.

The agent overseeing the FBI investigation into the 1990 Isabella Stewart Gardner Museum heist spoke at my workplace today (a real perk of my job).

I learned a lot. Did you know, for example, that because Mrs. Gardner’s will specified that no art was to be moved, sold, or replaced, the paintings had no insurance? They were not be replaced. The agent said that the usual scenario is that stolen art is held for ransom from the insurance company. The thieves probably didn’t dream that there was no insurance on Rembrandts and Vermeers.

Our speaker was quite entertaining (for example, showing a slide from the Simpsons cartoon in which Vermeer’s The Concert is found in Montgomery Burns’s mansion ). He answered many questions and punted others as the investigation is ongoing.

As you may have seen recently, the FBI announced that they knew who had stolen the art and at least two of the places it had been seen. They have not announced the names of the thieves but may do so once they work through all the leads the latest announcement has brought. The statute of limitations ran out on the theft after five years (Mass. Senator Ted Kennedy subsequently pushed through a federal law extending the limit to 20 years), but possession of stolen art is a crime not subject to time limits.

I learned that the museum had good security. As most locals know, the guards let the thieves in believing they were cops. When you have a Trojan Horse inside, security doesn’t help, the agent said. Nowadays guards in different museums call each other every 20 minutes just to check.

Extensive research has shown there has never been a museum theft like this, where the thieves stole so much of value and also so much of little value and took a leisurely 81 minutes to do so.

And perhaps there has never been a crime at a major museum where the paintings were not insured.

The agent believes the art will be recovered one day. Read the FBI dedicated site, here.

Photo: Simpsons

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I enjoy blogging about my cousin the tree artist (here, for example). I’m a longtime fan.

Today I learned that one of Sally Frank’s miniprints has been accepted into the International Mini Print Exhibition at the Center for Contemporary Printmaking in Norwalk, Connecticut.

According to its website, “the Center for Contemporary Printmaking is the only nonprofit organization between New York City and Boston solely dedicated to the art of the print, including printmaking, papermaking, book arts, digital processes, and related disciplines.”

Sally Frank does many different kinds of prints and drawings. You can see how varied are the media she works in at her site, here.

Monotype: Sally Frank

trees-by-sally-frank

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If I come to work early, I often take a walk at lunch. I love the Greenway, which is especially nice in spring and summer. And the Fort Channel district (the Mayor likes to call it the Innovation District) seems to have something new to see almost every week — repurposed warehouses, galleries, restaurants, pocket parks.

Fort Point Arts got bumped from its space next to Flour (a yummy restaurant) on Farnsworth, so one lunchtime I made a point of checking out its new space off A Street.

I especially like that they show art depicting the Fort Point neighborhood — partly because walking there makes me attached to that part of Boston, and partly because Fort Point is changing fast. (About 18 years ago, when I went to an arts open house there, many artists had studios with beds on ledges and  tiny kitchens. Some artists were squatting in dangerous buildings with wires hanging down, no heat, no doors, no lighting. That world is gone.)

Laura Davidson was one of the featured artists when I was last in the Fort Point Arts shop. She had some block prints of her neighborhood that I admired.

Be sure to check her home page. Everyone should have a home page that looks like a treasure map.

Art:Endangered Neighborhood” reprint of 1995 view of Fort Point), 2012, Laura Davidson

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Facebook can be annoying, but I guess it does sometimes pay to be on it.

After “liking” a number of my cousin Sally Frank’s nature photos and art over the years, I finally figured out via Facebook that much of her work is on a WordPress blog — and she has had the blog longer than I have had this one.

Trees are a specialty. Often she will start with a photograph like the one below for inspiration. She then turns to printmaking, which you can learn about at her blog.

“Ms. Frank uses centuries-old printmaking techniques like etching and aquatint on copper plates, as well as innovative methods like solarplate intaglio. She says that although her work is grounded in drawing, she finds the unpredictable nature of printmaking inspirational and exciting.” More.

This photo reminds me of the strangler fig that I saw years ago in Costa Rica, a tree that wraps itself around a host and literally loves it to death. The host tree crumbles, and only the strangler is left — with an empty space inside.

Sally’s photo probably has a happier story — perhaps a nymph turned into a tree to escape danger.

Photo called “bound”: Sally Frank

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Unless you are going to the Danforth Museum of Art, I do not recommend ever going to Framingham (traffic issues, strip mall issues).

But I am very glad I finally made it to the Danforth today because it is a lovely museum with a community outreach effort that I admire.

The exhibit I went to see was described in the Boston Globe by by Sebastian Smee.

“One of the things you notice first in ‘Eternal Presence,’ a terrific career survey of John Wilson at the Danforth Museum of Art, is how attentive Wilson is to the faces of children. From his earliest days sketching his brother to his most recent large-scale drawings in charcoal, the impulse has remained the same: It is an impulse toward clarity, toward truth. He doesn’t sentimentalize or caricature children. …

“What you notice later is the high number of pictures showing children in the arms of adult men and women. … Wilson is after something elemental and profound. But the resulting image is not just another mother and child, or dad with young kid. There is instead, each time, something tender and hard-won about what you are looking at. A hope, a promise, a lament all in one.

“Wilson, 90, is one of Boston’s most esteemed and accomplished artists. He was born in Roxbury, the son of parents from British Guiana (now the nation of Guyana), was admitted to the School of the Museum of Fine Arts in 1939 after developing a natural aptitude for art at the Roxbury Boys Club, where he attended classes taught by SMFA students.”

Smee goes on to describe Wilson’s long career, including a stint in France, his interest in the Mexican muralists, and his sculptures of Martin Luther King Jr. (one is in the Capitol rotunda).

Amazing that the artist is around and will be giving a talk at the museum. Try to go. The show is up until March 24. And you may enjoy as much as I did the African American sculptures by Meta Vaux Warrick Fuller from the permanent collection and the joyful Harlem watercolors of Richard Yarde.

More at the Globe.

Lithograph by John Wilson

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Suzanne says I have an art esthetic. That makes me laugh.

My esthetic, as far as I can tell, is mostly a preference for painting that is wavy: Charles Burchfield, Virginia Lee Burton, Grant Wood, Marsden Hartley, Kate Knapp, Edvard Munch, Reginald Marsh.

A massive mural by one of my wavy favorites, Thomas Hart Benton, has recently been rescued from storage. Carol Vogel has the story in the NY Times.

“On New Year’s Day 1931, a new and radically different building opened amid the town houses of West 12th Street: Joseph Urban’s International-Style New School for Social Research, with one room in particular as a star attraction. Thomas Hart Benton, the American realist painter, had lined the third-floor boardroom with nine panels of what would be a 10-panel mural, ‘America Today,’ depicting a panoply of pre-Depression American types, from flappers to farmers, steel workers to stock market tycoons. Lloyd Goodrich, a prominent art historian, pronounced it a breakthrough that heralded a new approach to mural painting, ‘of actually taking reality and making mural art directly out of it.’

“Eight decades later, ‘America Today,’ now considered one of the most important and famous examples of American scene painting, is languishing in storage. That will change, however, because AXA Equitable, the insurance company that bought it nearly 30 years ago, has decided to donate it to the Metropolitan Museum of Art. …

“The only problem,” writes Vogel, “is that the museum is so squeezed for space that the mural’s first public appearance after the handover won’t be until at least 2015, when the Met takes over the Whitney Museum of American Art’s landmark Marcel Breuer building on Madison Avenue (after the Whitney’s move to the meatpacking district).” More.

Something to look forward to in 2015.

Photograph: The Metropolitan Museum of Art, New York

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Every day, no matter what else is going on around the world, artists are thinking of new ways to express beauty.

Henry Grabar writes an Atlantic Cities “postcard” about two Belgian designers’ insight that plates lit from the inside could make something wonderful out of discards — while saving a tree from being cut down for Christmas.

The resulting “tree” of broken cups and plates glows ethereally and was selected for display in the town square of Hasselt, Belgium.

” ‘We decorated the tree with objects which would otherwise have remained invisible,’ MOOZ designers Inge Vanluyd and Stefan Vanbergen wrote in their DesignBoom submission.” Not just invisible, I would add, but thought to be useless.

More.

Photograph: MOOZ, via DesignBoom (an independent publication dedicated to architecture and design)

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At first, Suzanne and Erik thought the chair backs attached to tree stumps on Blackstone Boulevard must have been the work of a conservancy-type organization. The boulevard’s broad, shaded medial strip for walkers, runners, and baby carriages is always well maintained and welcoming.

But it turns out that a “guerrilla good deed campaign” is behind the tree-stump art. Erin Swanson, of Providence’s East Side Monthly, tracked down a vigilante known as Johnny Chair Seed.

“Last summer,” Swanson writes, “a few friends were having themselves a little stroll down Power Street when they stumbled upon a broken chair, discarded on the sidewalk. A few footsteps further, they happened upon a tree stump. ‘It started as just a random idea. We figured someone got drunk and broke the chair,’ says the anonymous mastermind behind the array of stump chairs now scattered throughout the East Side. ‘I hear people have started calling me Johnny Chair Seed,’ he says with a devilish smile. ‘I kind of like it.’

“With the help of two friends (two of the ‘select few’ who know his true identity), Johnny has constructed a total of ten stump chairs including those on Hope, Rochambeau, Blackstone, Elmgrove and Larch, among others.” The full article is here.

Makes me want to do a stealth project again. It’s been too long. I have something in mind involving poetry. Stay tuned.

Photograph: East Side Monthly

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She doesn’t do only trees, but she knows trees inside and out.

Katherine Pacchiana has a nice update in the Daily Voice, a newspaper in North Salem, New York.

Sally Frank was in the middle of the Maine woods as she talked, via cell phone, about her collection of tree art, now on display at the Ruth Keeler Library.

“ ‘Most of what I do is make prints,’ she explained. ‘Unfortunately, I have a day job, but I like to do monotypes which are spontaneous and don’t take a long period of time.’ Monotypes are a form of prints, dating back to the 17th century. Each is made individually.

“Frank has been drawing all her life and has trained in many places, including Simon’s Rock in Great Barrington, Mass., and Long Island University, where she earned a master’s in fine arts. At the age of 19, she was apprenticed to Tom Bostelle, the American painter and sculptor who was a colleague of Andrew Wyeth.

“ ‘I’ve always drawn trees and the natural landscape. I went from focusing on the architecture of a tree – its sturdy trunk and the strong presence it has on the landscape – to what is left when a tree dies away and leaves forms behind.

“ ‘I’m fascinated by the texture and light that trees create, the  patterns – a tree’s essence.’ ” Read more.

Today I happened to be in Great Barrington for a work conference on affordable housing in rural areas. It was my first visit since Sally’s parents’ wedding, which I remember as being in a Unitarian church. I was hoping to get a picture I could post, but I saw only St. Peter’s and the Congregational church.

The Red Lion Inn in Stockbridge looked vaguely familiar, and I wondered if that was where we were staying when my father, as best man, realized he’d forgotten the wedding ring and raced back to fetch it while Uncle Jim paced anxiously, muttering words I recall as, “He always does this”!

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I liked Jacki Lyden’s story at National Public Radio about some unusual artists in the 1960s.

“If you traveled by way of Florida’s Route 1 in the 1960s, you might have encountered a young, African-American artist, selling a lushly painted oil landscape from his car. They weren’t allowed in galleries during Jim Crow segregation — but motels, office buildings and tourists would buy their vivid works.

“Together, they formed a loosely associated band around Fort Pierce, Fla., that came to be known as The Highwaymen. At $20 a painting, they made their way out of agricultural jobs like citrus-picking and defined the cultural look of an era.

“Their paintings departed from an earlier tradition of landscape painting in Fort Pierce. A.E. ‘Beanie’ Backus, considered the father of the landscape movement there, caught the clouds and savannahs and inlets that were falling to developers in the mid-century. He would teach many youngsters who came to his studio, including the teenage Alfred Hair, leader of The Highwaymen.

“These artists would take off in their own direction. But success has brought enduring tensions on their home turf, raising questions about art, race and cultural legacy. …

“The who’s who of The Highwaymen can be tricky. (A curator named Jim Fitch coined the name in the ’90s and it stuck.) Gary Monroe, author of The Highwaymen, Florida’s African-American Landscape Artists, counts 26 original painters — 18 of whom are still living. That’s how many were inducted into the Florida Artists Hall of Fame in 2004.”

Lots more.

Photograph: Gary Monroe
Alfred Hair (left) and Robert Lewis

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Jim Dwyer writes lovely human-interest stories for the NY Times. On September 5, he wrote about a guy who plays music by the Hudson River for an audience of birds, fish, and whatever friends or strangers wander by.

On Tuesday morning, Jose Modesto Castillo, retired from a job in a plastics factory, walked just about as far west in northern Manhattan as it is possible to go, to the end of a long pier fingering into the Hudson River at Dyckman Street. A harmonica rigged to his head was just a breath away from his lips. Lashed to his hands with hair ties were 17 miniature percussion instruments made from items like a Snapple cap, the lid of a prescription bottle, a Spider-Man figurine, the shells of plastic eggs that once held toys from supermarket vending machines.

“Strike up the one-man mambo band.

“Mr. Modesto’s mouth danced across the harmonica, and his fingers made rhythm out of junk. He played and he bobbed. At the end of the nameless number, he raised his arms as if waving to the Palisades on the far shore. Suddenly, he noticed that he was being watched, and called out, ‘Hello señor,’ and burst into a laugh.

“It was the Tuesday after Labor Day, the first day after the spiritual end of summer, though not yet the true beginning of autumn. At the pier and tiny cove on Dyckman Street, calendars were beside the point. Mr. Modesto, 66, comes every day to play, even if only the birds and fish are there to hear him.”

Some artists can get joy even if no one is around. As a musician, Modesto sees potential in bottle caps and plastic eggshells the way a painter might see it in clouds or the sun on the subway stairs.

Read more.

Photograph: Marcus Yam for the NY Times

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