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Photo: ICA
The Institute of Contemporary Art’s Watershed building is in East Boston, one of the communities hit hardest by Covid-19. In April, the ICA decided the most important thing it could do would be to provide food to neighbors in need. (Art projects for families get included in the bundles.)

Some artists seem more alert to human needs than the rest of us. That’s something my mother noted after my father had a debilitating stroke in his 40s. The painter friend and the poet friend seemed to more moved by what happened, more empathetic, than many others.

Certainly, in the current pandemic, we’ve seen people in the arts stepping up to offer all kinds of help. Here’s an example.

Grace Griffin reported for the Boston Globe in April, “With its galleries closed to the public, the Institute of Contemporary Art is using its Watershed outpost to feed families in need. … The nonprofit enlisted its catering company, The Catered Affair, to help with a donation drive.

“The ICA also recruited new donors to fund the project. The monthlong drive — launched in partnership with East Boston Neighborhood Health Center, East Boston Social Centers, Maverick Landing Community Services, Eastie Farm, Orient Heights Housing Development, and Crossroads Family Center — distributes family-size boxes filled with fresh produce and dairy products. …

“ ‘We know this is just a drop in the bucket of need,’ said ICA director Jill Medvedow. ‘We are pleased to help in this small way.’ ” More.

Then in late May, Andrea Shea followed up with a story at WBUR radio.

“Now the museum, its catering company and partnering community organizations in East Boston are extending their food distribution program through Sept. 3.

“ ‘What we learned in April … how hard hit East Boston residents are by COVID,’ ICA director Jill Medvedow said Friday.

The struggle to feed families is ongoing, and Medvedow said it highlights life-threatening disparities the largely immigrant East Boston community faces.

“ ‘Not having the nutrition that contributes to one’s health, to one’s ability to take care of your family, to that sense of dignity that everyone deserves,’ Medvedow said. …

” ‘I see this heroism around me,’ Medvedow said, ‘and I feel very lucky to help facilitate this. That’s my role.’

“About four years ago, when Medvedow and her staff embarked on transforming the 15,000 square-foot condemned building into satellite space for the ICA, they were dedicated to building relationships with the people who live there. ‘I never thought then that this would be the way in which we would demonstrate that the arts and the ICA would be a resource in this Boston community,’ she said, ‘But it is.’

“The food boxes also carry on the ICA’s mission to share art. Each one includes a creative project for families isolated at home. Medvedow said the museum is currently in talks with artists about commissioning new activities designed for both solace and stimulation. …

“Initially the effort’s funding was seeded with unsolicited anonymous donations. Now the ICA is funding the food distribution project and welcomes any additional support. …

“By the end of summer the ICA’s Watershed estimates it will provide more than 2,000 boxes of eggs, butter, fresh vegetables and fruit to East Boston families.” More.

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Until January 24, you can see at the ICA in Boston an exhibition on the artistic legacy of one of the most interesting colleges ever. It couldn’t last, but while it did, it burned with a bright flame.

Let me drop a few names of people who worked and studied there: Robert Rauschenberg, Josef Albers, Robert Motherwell, Cy Twombly, Jacob Lawrence, Willem de Koonig (painters); Buckminster Fuller (architect); Merce Cunningham (choreographer); John Cage (music); and Robert Creeley (poetry). I am leaving out too many, including the women, whose names are not as well known.

I went on my lunch hour and so swept through the exhibition too fast. I confess I am not crazy about much of the art from this period. My favorites here are Motherwell, Lawrence, Cunningham, and Creeley. But how amazing that they all gathered North Carolina’s Blue Ridge Mountains, energizing one another across disciplines and making the school their life for a while, even pitching in with the chores.

Surprisingly, the things I took away with me were two ideas I’d like to apply to art with grandchildren.

I’ve done photographic paper before (you put objects like leaves or shells on the paper, leave it in the sun a few minutes, then run in the house and rinse it in water), but someone in the show did a full body. I might try a hand or a face. I also loved the textures of one piece of art I saw. Not quite a collage, it used string and bumpy surfaces in imaginative ways that reminded me of a project I watched Earl Gordon do when I was a child. He sliced the seed pod of a flower and used it as a stamp. Got to try more of that.

You can read about the school and the exhibit here.

Photo: Craig F. Walker/Globe
I liked “Female Figure” on sun-exposed photographic paper, by Susan Weil and Robert Rauschenberg, left.

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I blogged about the two previous murals in Dewey Square, here, and now there is a third one. The first two were by artists who had shows at the nearby Institute for Contemporary Arts (the ICA). The new one is by an artist associated with the Museum of Fine Arts (MFA).

According to Geoff Edgers at the Boston GlobeJill Medvedow, ICA director, was not pleased that the Rose Kennedy Greenway Conservancy chose a different museum. “Really?” she said. “It’s walking distance to the ICA.”

WBUR radio’s “The Artery” covers more of the story: “Shinique Smith, the creator of the latest work, recalls seeing pictures on the Internet of that earlier mural by the Brazilian twins Os Gemeos. Standing in the grass below her piece, she told me she thought the wall was amazing, ‘and I wanted to do something like them.’ ” More here.

In case you’re wondering, Smith didn’t stand there painting it all herself like the Os Gemeos twins who did the first mural. Instead she gave a kind of map to skilled painters from a company that does this sort of thing, translating a smaller work into a giant one.

I took four photographs of the progress.

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Yesterday my husband, my cousin Dennie, and I went to the Institute of Contemporary Art (ICA) to see a video installation of Icelandic musicians performing together but in separate rooms of a crumbling mansion on the Hudson River.

Museumgoers entered a large dark gallery at any point in the performance and fixed their eyes on whichever of the nine big screens caught their attention. We happened first upon the guitarist Ragnar Kjartansson in the bathtub singing at the loudest point in the cycle. We turned to each other with our mouths and eyes wide in a huge grin, it was so incredibly crazy and far out.

Here’s what the ICA says about the installation: “A celebration of creativity, community, and friendship, The Visitors (2012) documents a 64-minute durational performance Kjartansson staged with some of his closest friends at the romantically dilapidated Rokeby Farm in upstate New York. Each of the nine channels shows a musician or group of musicians, including some of Iceland’s most renowned as well as members of the family that owns Rokeby Farm, performing in a separate space in the storied house and grounds; each wears headphones to hear the others. …

“The piece itself sets lyrics from a poem [“My Feminine Ways”] by artist Ásdís Sif Gunnarsdóttir, Ragnar´s ex-wife, to a musical arrangement by the artist and Icelandic musician Davíð Þór Jónsson; the title comes from a 1981 album from Swedish pop band ABBA, meant to be its last.” More.

From “My Feminine Ways,” by Ásdís Sif Gunnarsdóttir,
“A pink rose
“In the glittery frost
“A diamond heart
“And the orange red fire
“Once again I fall into
“My feminine ways.”

I wrote about the crumbling Hudson River estate before, here.

My husband said Rokeby would have been a great setting for the Antiques Roadshow. Dennie, who is related to the owners of Rokeby, says her friends will never believe that she, a person who always disparages far-out art, was drawn in and ended up really liking “The Visitors.” We watched it twice. I’m still singing the most-repeated line,”Once again I fall into/My feminine ways.”

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Remember the new Dewey Square mural I blogged about recently, here?

The Boston Globe has a brief update for you, but their picture is blocked by a cherry picker. As soon as the Greenway moved the heavy equipment, I shot my own picture.

Be watching for more on Dewey Square. I have blogged about the two months that Occupy Boston camped there. I have blogged about the Greenway’s teaching garden alongside the Big Dig exit and about the farmers market that sets up Tuesdays and Thursdays. Soon I will show pictures of the pianos that arrived today — with people playing them, I hope.

Dewey-Square-mural-Sept-2013

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You may recall a past post about the Greenway mural by Os Gemeos, Brazilian twins who had a show at the Institute of Contemporary Art and painted street art around Boston when they were here. I posted pictures of their work-in-progress for the Greenway, here.

Geoff Hargadon photographed the finished work for the Boston Globe, below.

That giant mural is gone now, and Matthew Ritchie is working on the next one. I took a picture of it today and plan to take more for the blog as Ritchie wraps up.

Geoff Edgers at the Globe gives some background on this new piece. “The Institute of Contemporary Art has commissioned British-born Matthew Ritchie, known for using scientific principles to inspire his work, to take over the enormous outdoor canvas.

“Ritchie’s 5,000-square-foot seascape will be installed the week of Sept. 16 and remain up for as long as 18 months.

“The collaboration … is part of a residency for Ritchie that will include a multimedia performance with members of the rock bands The Breeders and The National, concerts at the museum and elsewhere, and a video project to be produced with the ICA’s teen program. But the biggest splash for the public will come on the exterior of the Big Dig ventilation building in Dewey Square.”

Read more at the Globe, here, and at the Greenway site, here.

Photo: Suzanne’s Mom

Matthew-Ritchie-Greenway-art

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I keep a folder of things I want to check out in walking distance of the office. Today I pulled out a Boston Globe article from 2-1/2 years ago, “Depression-era mural gets a second chance to shine,” and set out.

A Stephen Etnier mural of Boston Harbor that had been rolled up and stored away in 1981 was back on display.

Etnier, as Brian Ballou wrote in the Globe, was “one of hundreds of artists across the country picked by the federal government in the late 1930s to early ’40s to depict characteristic scenes of their region in post offices. …

“In early 2005, postal employee Brian Houlihan came across the painting and alerted Dallan Wordekemper, the federal preservation officer for the United States Postal Service. The mural was sent to Parma Conservation in Chicago, which began to restore the artwork in late 2008.”

The restored painting, “Mail for New England,” was unveiled in April 2010, but it took me until today to get to the post office branch at Stuart and Clarendon.

I got an extra bonus, too, because on the way I saw a completely unexpected bit of street art by the famed Gemeos twins, whose work at the ICA and Dewey Square was described in an earlier post.

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There is a huge structure in the middle of the Greenway that the inventive Sam and Leslie of Uni Project fame once envisioned as a projection screen for summer film festivals. It houses the Big Dig’s ventilation system.

About a week ago I was walking past and noticed what looked like window washers cleaning it. I thought, “Now, why would anyone want to wash that thing?”

A couple days later I saw why. Prepping the canvas.

This is in Dewey Square, where less than one year ago Occupy Boston pitched camp.

Now, writes Geoff Edgers in the Boston Globe, “That’s where Os Gemeos (‘the twins’), famous in the street art world for creating towering cartoonish figures with bright colors and grimacing expressions, began work on their first Boston piece. Depending on weather, they’ll need a little over a week to craft the mural on a wall of a Big Dig ventilation building and a second, smaller piece on the Revere Hotel near Boston Common.

“The pieces are part of the first solo museum exhibition in the United States for Os Gemeos. The Institute of Contemporary Art show, featuring paintings, mixed media works, and installations, opens Aug. 1.”

Read more and check out other art by these guys at the Globe.

You might also like to read the museum’s description of the brothers’ upcoming the exhibition:

“This August the ICA will present the first solo exhibition in the United States of works by the Brazilian brothers Otavio and Gustavo Pandolfo. Best known as Os Gêmeos, the twins are a major force in graffiti and urban art. The twins have a deep bond; they are tireless collaborators and say that they often experience the same dreams. In an effort to share their dreams with the world, they depict their visions in surreal paintings, sculpture, and installations: human figures with removable faces, exploding bursts of color, and room-size heads installed with shanty interiors.”

More from the ICA here.

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Sunday evening I went over to Concord Academy to hear Seán Curran talk about how he creates choreography. Betsy, one of the dancers from his company, did a beautiful job of demonstrating what he meant.

As a little boy growing up in Watertown, Seán said, he waited eagerly for the mail that brought Look magazine. He liked to cut out pictures and make collages with them.

He says that his approach to choreography is similar. He arranges many snippets or dance phrases in different ways. His challenge is to edit down the many ideas so that the choreography doesn’t topple from too much weight.

I make collages, too. I have always liked the idea of taking a bunch of random things people have said and trying to make a play out of them, for example.

I also make collage greeting cards. I keep a box of promising pictures, cut from magazines and gallery postcards. I go through the whole pile and set aside maybe 20 items that somehow remind me of the person for whom I am making the card. Then I edit them down to the few pieces that will be best for the particular occasion.

All that happens before I cut the shapes and decide on how to arrange them. Sometimes I do a cutout of a cutout and put something else in the space: for example, I cut a vista out of a painting of a window and put a girl in the space (bottom right).

Here are examples.

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