News & Events
Lana Z Caplan, First Corn of the Summer, Highland Lake, ME
August: Interview with Lana Z Caplan on 365artists365days
July: Lana Z Caplan on L E N S C A T C H: Summer Fun Exhibition
June: In Conversation: Nelson and Caplan: Big Red & Shiny
Patches of color
By Cate McQuaid
| GLOBE CORRESPONDENT SEPTEMBER 09, 2014
Peri Schwartz also dodges nimbly between representation and abstraction. Her paintings at Gallery NAGA depict interiors of her own studio, which melt into planes of pungent color.
Like Friedman’s “Flight” series, “Studio XXXV” feels more about the artist’s choices than it is about any objective reality: hovering swatches of tangy orange and icy blue, a clean black block, its top streaked with verticals. Perhaps they’re book spines. Schwartz uses every patch of color to build a sense of space, yet the patches themselves look flat and deliciously smeary, as if on her way to pictorial depth, she fell in love with a particularly bright and sensuous dollop of paint.
Where Schwartz’s work is sunny and spacious, Joo Lee Kang’s is dark and intimate, and nearly colorless. Kang also has a show at NAGA. She draws mutant animals and insects among still lifes with shells and plants.
Kang’s work grows ever more detailed and precise. It’s strange, then, that her drawings of animals seem to play fast and loose with proportion. I don’t think the lamb (or goat?) with extra legs is truly close to the size of the featherless rooster in “Still Life With Shells #1.” The mutations are disconcerting enough; the odd sizes just feel off.
The same may be true of her creepy and wonderful insect drawings, but only an entomologist would know. The bugs often appear to merge with the cut flowers, as if there are no natural boundaries. In “Still Life With Insects #4,” an insect with huge black eyes sprouts from a blossom like a bug-eyed jack-in-the-box. Pieces like this feel reminiscent of Dutch and Flemish still life paintings of rotting feasts, fed upon by flies — only Kang puts it all under a microscope.
August 16, 2014 - July 30, 2017
Eunice and Julian Cohen Galleria (Gallery 265)
A contemporary take on landscape in the Linde Family Wing for Contemporary Art.
This new installation in the Linde Family Wing for Contemporary Art’s Eunice and Julian Cohen Galleria offers a contemporary spin on landscape art. Ten works, including sculptures, paintings, installation, and video art, present contemporary art as the latest chapter in the story of landscape art through the ages, as told by the MFA’s encyclopedic collection. Works include a number of new acquisitions that have never before been on view, as well as new commissions by Jason Middlebrook and Anne Lindberg. Their soaring creations evoke nature’s sublime potential through color and pattern, using the dramatic architecture of the Linde Family Wing to guide their work.
Jason Middlebrook has been invited to paint the largest wall in the Cohen Galleria, which measures 24 by 80 feet. Middlebrook’s signature patterning weds the geometry of modern abstraction with the lines of wood grain to “create a tension between something organic and something man-made.” Another site-specific work by artist Anne Lindberg evokes nature by using only thread and staples. Suspended from the vaulted ceiling of the Linde Family Wing’s second floor, Lindberg’s work soars gracefully above visiting guests. This is the first time Lindberg has created a work installed at this height (16½ feet), allowing visitors to look up through a field of color.
Works from the MFA’s collection that expand the definition of “landscape” beyond the horizon line include chenille beanbag Topia Chairs (2008) by Barbara Gallucci, a professor at the School of the Museum of Fine Arts. Another take on the theme is seen in the playful video, Eating Landscape (2005), which depicts artist Song Dong (Chinese, born in 1966) building an edible tableau that satirizes traditional Chinese ink landscapes.
Working in the legacy of Claude Monet, Spencer Finch’s Shield of Achilles (Dawn, Troy, 10/27/02) (2013), re-creates the light of dawn. He carefully observes and notates the colors at a precise time and location, reproducing them with filtered fluorescent light bulbs. Ghost (Vines) (2013) by Teresita Fernández references nature’s fleeting presence. Layers of precision-cut metal are backed with bright green silkscreen ink that casts a soft green glow around sharp, machined edges—mimicking the pattern of moss. Other works on view in the installation include Two Whites Over Antique Red Over Cadmium Red (2013) by Pat Steir, Garrowby Hill (1998) by David Hockney, Verity (magenta blue), Repose, and Verity (blue green gray) by Nicole Chesney, and Untitled (2003) by Tara Donovan.
On view in the Eunice and Julien Cohen Galleria, Level 2; Hope and Mel Barkin Art Wall; and Michael D. Wolk Art Wall.
More information can be found here.
Sophia Ainslie is part of the Hallspace Drawing Project that opens September 6th.
September 6 - October 11, 2014
Opening Reception: Saturday, September 6th 3 - 6 pm
Ken Beck at Piano Craft Gallery
Opening Reception: September 5th 6-8 pm