The Scream

"The Scream" Edvard Munch (1895)

“Munch and Expressionism,” the latest exhibit at the Neue Galerie, explores how the Norwegian Evard Munch influenced his German and Austrian contemporaries and German Expressionism. Included in the show are more than 80 paintings and works on paper by Munch and other artists like Max Beckmann, Ernst Ludwig Kirchner, and Egon Schiele. This mix allows viewers to see shared themes of mortality, alienation, and anxiety and for Munch’s work to stand out. It's also refreshing to see a woman artist, Gabriele Munter, included; her painting “The Blue Gable” (1911) was one of my favourites in the show.

An exhibit of Munch wouldn’t be complete without his most famous work, The Scream, an iconic symbol of modern angst. Here the painting gets its own room, dark and cozy. Munch created four versions of “The Scream” yet the one on display, the 1895 version done in pastels, may be the most interesting. It’s the only one to have remained out of a museum and in private hands. It’s also the one that includes a poem painted on the frame by the artist that describes the origin of the work:

“I was walking along the road with two Friends / the Sun was setting – The Sky turned a bloody red / And I felt a whiff of Melancholy – I stood / Still, deathly tired – over the blue-black / Fjord and City hung Blood and Tongues of Fire / My Friends walked on – I remained behind / – shivering with Anxiety – I felt the great Scream in Nature – EM.”

 “The Scream” has been reproduced so many times that it’s become kitsch yet it’s striking to see in person, brighter than any postcard or poster. The strong strokes of colour have a feeling of urgency, as if the artist dashed off the work in a hurry. The oppressive orange sky, the seemingly endless bridge above the swirling blue water below, and the alien-like features of the figure in the forefront grab your attention, leaving you with a sense of unease.

“Munch and Expressionism” is at the Neue Galerie until June 13, 2016.

Cocktail

"Cocktail" Gerald Murphy (1927)

Tonight I attended an after hours event at the Whitney Museum. While I did check out the new exhibits, I probably enjoyed the gallery with selections from the Whitney’s permanent collection the most. In one section among works by Edward Hopper, Man Ray, and Joseph Cornell is the painting “Cocktail” by Gerald Murphy (1927).

During the 1920s, Americans Gerald and Sara Murphy lived a charmed life on the French Riviera. Cultured and stylish, they swam, sunbathed, danced, and dined with their circle of friends who included the likes of Fitzgerald, Hemingway, and Picasso. It was also the decade that saw an artistic outpouring from Gerald who produced 14 paintings in the Cubist-style, which were well received. Tragedy struck the Murphys in 1929 when their son, Patrick, became ill with tuberculosis; Patrick and his brother, Baoth, would both die a few years later. Gerald never painted again.

Today, only eight of his paintings are known to still exist including “Cocktail.” It is a perfect painting for the Jazz Age. Titled after what one drank in a speakeasy, it features a martini glass and cocktail shaker along with a corkscrew and an all-important lemon for a twist. There’s also a large box of cigars. Devoted to his family, Gerald included five cigars to represent him and his family members. The collection of items, lined up in an orderly fashion, is modern and sophisticated, just like its painter. 

Boston Common at Twilight

"At Dusk (Boston Common at Twilight)" Childe Hassam (1885-86)

Yesterday was the first snow of the season. In honour of the occasion, I’m taking a look at a favourite winter painting.

When I lived in Boston, I spent many hours at the Museum of Fine Arts. “At Dusk (Boston Common at Twilight)” by the American Impressionist Childe Hassam was one of my favourite paintings. Today, looking at it instantly conquers up a nostalgic mix of memories of both Boston and winter snow.

Here we see a mother with her two children feeding the sparrows on the Tremont Street Mall in Boston Common (a handy location for Hassam as it was across the street from his studio). This wide promenade in the Common, lined with elm trees on one side and Tremont Street on the other, was created for Bostonians to have a place to take a stroll, perhaps in the afternoon or on a Sunday dressed up in church finery. So refined.

While the site looks different today—the promenade was broken up with the addition of two subway entrances—it’s still recognizable as the Boston Common I’ve walked through so many times. What’s interesting to note is that the Common Hassam painted reflected changes that had occurred during his time as well; by the mid-1880s an increase in commerce in the area had resulted in new buildings and streets crowded with trolley cars and carriages.

I particularly love the light in the painting from the pink warmth of the setting sun behind the trees to the orange glow from the windows in the buildings. As for the snow, Hassam painted a very accurate depiction of snow that’s been walked upon. Looking at that path, I know all too well that by the next day it would have turned into a sheet of ice to be traversed at your own risk. Oh, winter in Boston. How beautiful (and dangerous) you could be.

Van Gogh Irises and Roses

"Irises" Vincent Van Gogh (1890)

The downside of viewing a large exhibit is that the volume can be overwhelming and works can get overlooked. Sometimes less is best, which is the case with “Van Gogh: Irises and Roses” at the Met—just four paintings to ponder and admire.

The paintings, two of irises and two of roses, were completed during Van Gogh’s last month at the Saint-Paul Asylum in Saint-Rémy-de-Provence in 1890 where he had admitted himself the year before. Brought together for the first time in 125 years, they are beautiful and striking. The paintings can be viewed as symbols of the optimism that Van Gogh felt, which he conveyed in letters to his family as he readied himself for leaving the asylum. Sadly, it didn't last; the artist would commit suicide just a few months later.

Known for his bold colours, Van Gogh was very particular about his paints. One in particular that he insisted on using was geranium lake, a scarlet pigment that was highly unstable, resulting in fading. Van Gogh used the colour in multiple works including these paintings. 

"Roses" Vincent Van Gogh (1890)

As a result, the colours in the paintings have changed over time. Using x-ray fluorescence mapping to examine the canvases, curators were able to discover the remains of geranium lake and digitally reconstruct what the paintings may have originally looked liked.

Monitors set up across from the paintings in the exhibit show these reconstructions for comparison. While the now blue irises would have been more violet, the white roses and white backdrops were originally pink—creating a more dramatic look. The vertical roses in the reconstruction are set against a complimentary green and pink backdrop with pale pink roses while the horizontal irises set against pink as opposed to a white seem to be more “Van Gogh.”

While we cannot know for certain exactly how they looked when Van Gogh painted them, it’s fascinating to think about. Whether pink or white, violet or blue, Van Gogh’s irises and roses are gorgeous.

“Van Gogh: Irises and Roses” is at the Met through August 16, 2015. For more information, visit here.

Flaming June

"Flaming June" Frederic Leighton (ca. 1895)

New York recently saw the arrival of a lovely lady, one who hasn’t been here in more than 35 years.

Frederic Leighton’s “Flaming June” (1895) is currently at the Frick Collection, on loan from the Museo de Arte de Ponce in Puerto Rico. I saw her a few weeks ago at a special preview, and she is gorgeous. A sleeping beauty in an orange gown that seems to glow, “Flaming June” was one of Leighton’s final works and his masterpiece.

The figure in the painting epitomizes the classic Pre-Raphaelite woman—auburn hair, oversized features, and large, strong body. Drowsing in the warm Mediterranean air, she exudes an air of sensuality while the appearance of red oleander, a poisonous flower, in the upper right corner draws connections between sleep and death.

Also on display is a small oil sketch of the painting (1894-95). Both are a stark contrast to the more subdued tones of the Whistler portraits from the Frick’s permanent collection that share the room.

Even if you've seen the painting reproduced a million times in art books, she's worth seeing in person. “Flaming June” is at the Frick Collection through September 6, 2015. For more information, visit here.

Matisse Cut-Outs

"The Fall of Icarus" Henri Matisse (1943)

Tomorrow is the last day of the “Henri Matisse: The Cut-Outs” exhibit at the Museum of Modern Art (M0MA). To say that the show has been popular is an understatement: this past weekend MoMA stayed open round the clock to accommodate visitors even at three in the morning. I saw the show last month and even though there was a wait and huge crowds, it was well worth it.

Roughly 100 pieces filled room after room with the most incredible colours and shapes. More familiar with his paintings, I was unaware that toward the end of his life Matisse worked almost exclusively in cut-outs (a bout with cancer left him weakened and bedridden for much of his later years). In a way, it was like looking at the rebirth of an artist, one who discovered a new way to express how he saw the world.

"The Parakeet and the Mermaid" Henri Matisse (1952)

In Matisse's hands some pieces of coloured paper (his assistants painted sheets of paper with paint chosen by the artist), dress pins, and a pair of scissors could render a dancer, the design for a stain-glassed window for a chapel, or a swimming pool of bodies that wrapped around a room. 

Two of my favourite pieces were a contrast in size. "The Fall of Icarus" with its lovely Mediterranean blue and blaze of fire at its center, was small yet striking. And I simply adored a mural Matisse created when he lived at the Hôtel Régina in Nice. “The Parakeet and the Mermaid,” which covered two walls (ignoring the radiator in the way) of Matisse’s studio, is a glorious collection of leaves and fruit (with a parakeet and mermaid at either end) in a medley of colours including some shocking pink. This work gave an ill man who had once loved to garden a garden that he could maintain and nourish. Like the rest of the exhibit, it was a joy to see.

If you didn't manage to see the exhibit, you can view the rest of the works and read more about Matisse here.

Night at the Museum

The Roman Sculpture Court at the Met. Photo by Michele.

One of my favourite books when I was a little girl was From the Mixed Up Files of Mrs. Basil E. Frankweiler, the story of siblings Claudia and Jamie Kincaid who run away to live at the Metropolitan Museum of Art. Monday night I was able to experience my own version of sorts when I attended an after-hours Instameet at the museum sponsored by the Met and Bloomberg Philanthropies.

The evening began with cocktails and a chance to meet some fellow instagrammers. After that we were given a tour of the museum by the Met’s Chief Digital Officer Sree Sreenivasan. He was a perfect guide, pointing out some of his favourite pieces and relaying amusing anecdotes about various works. Everywhere we went cameras snapped away, capturing the art, selfies, and each other. There was even a group photo taken in the American Wing Courtyard of everyone lying on the ground.

 "Colossal Seated Statue of Amenhotep III, Reinscribed by Merneptah" (ca. 1390–1353 B.C.). Photo by Michele.

"The Temple of Dendur" (completed by 10 B.C.). Photo by Michele.

"The American Wing Courtyard." Photo by Michele

"Nydia, the Blind Flower Girl of Pompeii" Randolph Rogers (carved 1959). Photo by Michele.

Shadows in the Museum. Photo by Michele.

"Adam" Tullio Lombardo (ca. 1490-95). Take a good look. Once he's placed 

in his new niche later this year, you'll only get a front view. Photo by Michele.

"The Demidoff Table" Lorenzo Bartolini (1845). Photo by Michele.

"Marble portrait bust of the Empress Sabina" Roman (ca. A.D. 122-128).

 
Being in the museum at night with such a small group of people was exciting. Besides the bonus of not having to deal with crowds and their accompanying noise, there was the opportunity to see the museum literally in a different light. With no natural light and the electric ones dimmed (at least they seemed that way), shadows appeared and pieces took on a different look. During the day the Sackler Wing, home of the Temple of Dendur and the “Nile," is normally flooded with light from a glass wall but at night in the dark the place becomes more mysterious: the temple seems larger than usual, the "Nile" murkier (next time they should turn the overheads off completely and have lit torches at the temple entrance—just a suggestion). And I couldn't help but think that being in the Roman Sculpture Court, one of my new favourite spots in the museum, might be a bit unnerving if you were there alone at night (too many empty eyes staring at you). 

Going to an instameet and exploring the museum after dark are two things I'd love to do again. Thank you to the Met and Bloomberg Philanthropies for hosting such a wonderful event.

To see the museum at night, try visiting on Friday or Saturday evenings when the Met stays open until 9 pm. You may not get a private tour but the crowds will be thinner. And to find out what’s going on at the Met, download their new app here.

In the Galleries

"Shenzhen 2" Erwin Olaf (2014)

Saturday I visited a bunch of art galleries in my neighbourhood (Chelsea). While some of what I saw wasn't exactly my cup of tea, there were some shows that I liked a lot.

“Waiting: Selections from Erwin Olaf: Volume I & II” is a collection of striking oversized portraits by the noted Dutch photographer. The lush colours and vintage feel of the images can give the impression that one is looking at recreations of paintings. As for the subjects—a boy scout with an ice cream cone and his dog, an elderly man and woman in a hairdressers, a young blonde girl with her back facing the camera—they are all alone even when sharing the frame with another. My favourite was a group of black and white photos titled "Shenzhen," accompanied by a video installation in which a beautiful bobbed-haired woman sits at a table in a restaurant, waiting for her date. At first she seems to be patiently waiting but soon she begins to fiddle with the glass in front of her and to glance at her watch. Slowly her face shows the realisation that he’s not coming. It's mesmerizing to watch. “Waiting: Selections from Erwin Olaf” is at Hasted Kraeutler Art Gallery through February 28, 2015 (more info here).

"Landscape #29, Vence" Marsden Hartley (1925)

“Art is Long, Life is Short: Marsden Hartley and Charles Kuntz in Aix-en-Provence” combines some of my favourite things—the Lost Generation, Provence, and Cezanne. Hartley was already a well-known poet and artist while Kuntz was just starting out as a painter when their paths crossed in 1925. Kuntz convinced Hartley to join him and his wife in Aix-en-Provence, the hometown of Cezanne. There the two painted the same sites and landscapes that Cezanne had including the great man’s studio. It’s interesting to observe the artists’ paintings side-by-side, often of the same subject, and notice the differences in perspective and colour. I especially loved Hartley’s “Landscape #29, Vence” (1925) and Kuntz’s “Mount St. Victoire in Clouds,” their vibrant colours so indicative of the South of France and Cezanne's influence. Sadly, Kuntz was killed in a motorcycle accident in 1928; it’s believed he never exhibited during his lifetime. Now's the chance to see his work. “Art is Long, Life is Short” is at the Driscoll Babcock Galleries through March 7, 2015 (more info here).

"Las Meninas renacen de noche IV: Peering at the secret scene behind the artist" Yasumasa Morimura (2013)

“Yasumasa Morimura: Las Meninas Renacen de Noche (Las Meninas Reborn in the Night)” is Velázquez' famed painting “Las Meninas” re-imagined by the Japanese photographer. Morimura started by photographing the original painting along with the room where it resides at the Prado in Madrid. He then cast himself as each of the figures including the Infanta Margaret Theresa. In his version(s), the characters are allowed to move around within the painting and even to step out of the frame and into the museum. It's a bit disturbing at times (some of the images could be stills from a Tim Burton film) but still intriguing. As a bonus, there's a room in the gallery that includes a collection of black and white portraits of Morimura impersonating various movie stars including Marilyn Monroe, Ingrid Bergman, Liza Minnelli, and Audrey Hepburn in full Holly Golightly gear. “Yasumasa Morimura: Las Meninas” is at Luhring Augustine through January 24, 2015 (more info here).

Kiddie Flamingos John Waters (2014)

I’m a John Waters fan so naturally I had to check out “John Waters: Beverly Hills John.” Needless to say, it was exactly what one would expect from Mr. Waters. Hilarious, at times over the top, and highly entertaining. Some of the objects on display include "Fellini's 8 1/2," an oversized wooden rule measuring just that; "Library Science," in which a series of old paperback covers are matched with reworked Adults Only versions; and "Bill's Stroller," a baby stroller complete with a spiked leather belt and cloth decorated with sex club logos. The best though is a video that features a table reading by a group of kids of Kiddie Flamingos, a children's version of Waters’ infamous Pink Flamingos complete with a miniature Divine. Enough said. “John Waters: Beverly Hills John” is at Marianne Boesky Gallery through February 14, 2015 (more info here).

Egon Schiele: Portraits

"Reclining Woman with Green Stockings" Egon Schiele (1917)

The Austrian artist Egon Schiele (1890-1918) was something of a boy genius and rebel. At the age of 16 he was accepted into Vienna’s Academy of Fine Arts. At 17 he counted Gustave Klimt as a mentor and at 18 had his work included in a public exhibition. At 19 he and some friends dropped out of school to found the New Art Group and by 21 had his first solo exhibit. He would die young, leaving behind a body of work that would make him one of the most important European artists of the early 20th century.

“Egon Schiele: Portraits” is a compelling exhibit at the Neue Galerie that includes 125 of his drawings and paintings. Although often shocking, sometimes grotesque, and rarely beautiful, you can’t help but be captivated by them.

"Erich Lederer in Front of a Window, Gyoer, Hungary" Egon Schiele (1912)

The portraits in the front of the show are of a variety of family members and acquaintances. There’s the Klimt-influenced portrait of his sister, Gertie (there were rumours about an incestuous relationship between the two siblings); the portraits of the Lederer family, including multiple ones of the son, Erich, looking like a follower of Oscar Wilde (Schiele caused some trouble when it was discovered that he was introducing Erich to his female models); and a portrait of gynaecologist Dr. Erwin von Graff that is absolutely terrifying with his long arms covered in what looks like a combination of blood and burns.

Some of Schiele’s favourite subjects were children who he would invite into his studio to pose for him. In 1912 he was arrested and accused of kidnapping and raping a minor. In the end he was only charged with offences against morality (for having pornographic material on display for minors to see) and spent 24 days in prison. Afterwards, Schiele primarily stuck to painting adults. The exhibit includes a small room dedicated to this event with sketches Schiele completed while in prison.

"Portrait of the Artist’s Wife, Standing (Edith Schiele in Striped Dress)" Egon Schiele (1915)

In the final gallery two of Schiele’s obsessions, women and himself, come together. Here the visitor is greeted with numerous images of women in various states of undress and sexual arousal (sometimes with Schiele joining in). Knickers and stockings of all colours play an important role. Sometimes the women look at the viewer; other times their faces are hidden among their clothes or covered by their hair. A few are of his longtime partner, Wally, while others are nameless. A nearby full-length painting of his wife, Edith, stands in stark contrast, fully dressed and while colourful a bit dull in comparison.

"Self-portrait with arm twisted above head" Egon Schiele (1910)

And then there are the self-portraits: Schiele pouting and preening, his body twisted, emaciated, sometimes dressed, sometimes not, looking like an Austrian Sid Vicious. A few have religious connotations including one that comes right out and announces that it’s Schiele as St. Sebastian pierced through with arrows. Seen collectively, it's hard not to think of Schiele as a narcissist (or maybe he was just young).

One of his later paintings from 1918 gives a clue that the artist was looking forward to starting a new chapter in his life. “The Family (Squatting Couple)” depicts a father and a mother, naked, with a baby at their feet. Schiele posed for the figure of the father while a model stood in for a pregnant Edith. Yet this imagined scene of Schiele’s future was not to be. Edith died while she was six-months pregnant, a victim of the Spanish Flu epidemic. Schiele followed her just three days later. He was 28.

"Self-Portrait with Peacock Waistcoat, Standing" Egon Schiele (1911)

One can only speculate what direction his art would have taken had he lived and how he would have fared a few decades later as a middle-aged man living under Nazi rule. Schiele's early death means he will forever be the young artist who left behind a trove of work that continues to shock and fascinate a hundred years later.

"Egon Schiele: Portraits" is at the Neue Galerie through January 11, 2015. For more information, visit here. 

Masterpieces from the Scottish National Gallery

"Lady Agnew of Lochnaw" John Singer Sargent (1892) 

There’s currently a small exhibit at the Frick Collection that’s a welcome respite from the larger shows around town. “Masterpieces from the Scottish National Gallery” features ten works from that museum's strong collection that look right at home on the walls of the Frick. 

The paintings, which range from the 15th to the 19th century, include Botticelli’s serene “The Virgin Adoring the Sleeping Christ Child” (ca. 1485) with that wonderful Renaissance blue and a Virgin Mary who looks an awful lot like Uma Thurman; “An Allegory (Fábula)” by El Greco (ca. 1585–95), which depicts a boy “blowing fire,” rendering an interesting glow to the painting (there’s also a monkey by his side); “The Ladies Waldegrave” by Sir Joshua Reynolds (1780-81), featuring the grandnieces of Horace Walpole, shows a varying range of beauty and leave one wondering how the sisters fared in life (they all received marriage proposals after the painting was finished so on the surface they did well); and a requisite kilt to represent Scotland in Sir Henry Raeburn’s larger than life portrait of “Colonel Alastair Ranaldson Macdonell, 15th Chief of Glengarry” (1812).

Yet it is the youngest painting in the bunch that is the star of the show. John Singer Sargent’s portrait of “Lady Agnew of Lochnaw”(1892) holds court at the end of the gallery. The former Gertrude Vernon (yes, Gertrude) was married to barrister Sir Andrew Noel Agnew who commissioned the portrait from Sargent. Lady Agnew was obviously very beautiful but it is her very modern, straightforward gaze at the viewer and seemingly languid pose with her arm draped over the side of the chair that lends a sensual air to the portrait. Add the white and lilac colours of her gown with the flower-patterned chair and Chinese wall hanging and you have one gorgeous portrait. 

When the painting was shown at the Royal Academy in 1893 it received raves from the critics, bolstering the reputations of both the sitter and painter—Lady Agnew went on to become a popular hostess and Sargent would be known as the go-to portrait painter for the wealthy.

Ironically in 1922 a widowed Lady Agnew inquired about selling the painting to the Frick but Helen Clay Frick, daughter of the museum’s founder, declined. Some 92 years later, it’s finally arrived if just for a temporary stay.

Lady Agnew and the other paintings will be at the Frick through February 1, 2015. For more information, visit here. And if you go be sure to check out the gift shop, which has items from the National Gallery's shop including a fun mug dubbed "Men in Socks."

America Today

"America Today: City Activities with Dance Hall" Thomas Hart Benton (1930–31)

In 1930, painter Thomas Hart Benton was commissioned by Alvin Johnson, the director of the New School for Social Research in New York, to create a mural for the school’s boardroom. The result, “America Today,” is a sweeping portrait of American life in the 1920s.

The New School displayed the mural for 50 years before selling it to AXA Equitable Life Insurance for their New York headquarters (the school's provision when selling was that the mural could not leave the country nor be broken up). In 2012 AXA had to remove the work from their lobby for building renovations; they ended up donating it to the Metropolitan Museum of the Art where it is currently on display in the exhibit “Thomas Hart Benton’s ‘America Today’ Mural Rediscovered.”

Comprised of ten panels, “America Today” is epic in scope and quite stunning. The colours are rich and varied with aluminum leaf moldings created by Ziegfeld’s designer, Joseph Urban, framing the panels and defining individual scenes. The majority of the panels represent life in different parts of the country: New York, the South, the Midwest, and the West. The largest, “Instruments of Power,” showcases modern technological advances in power and transport while the smallest “Outreaching Hands,” symbolizes the Great Crash with hands holding money across from those reaching out for coffee and bread.

Included are multiple characters—flappers and mothers, farmers and steel workers, preachers and jazz musicians. I particularly liked the panel, “City Activities with Dance Hall,” which shows New Yorkers dancing, going to the movies, and drinking (illegally) while high above them a man on Wall Street watches the ticker tape.

In two nearby rooms, visitors can view Benton's studies for the mural including photographs of people who modelled for some of the figures (interesting note: Jackson Pollock, who was a student of Benton's, posed for his teacher). There are also related works by other artists including photographs by Berenice Abbott and Lewis Hines. Yet nothing compares to sitting in the room with the mural, surrounded by so much colour and life.

“America Today” is on display at the Met through April 19, 2015. For more information, visit here.

Art Roundup

"Woman Viewed from Behind" Edgar Degas (ca. 1879-1885)

This fall has been filled with loads of art from exhibits to performances to screenings. As much as I tried, I fell behind in trying to write reviews of everything so before the season is officially over, here’s a short wrap-up of some of the things I saw.

In the summer of 1937, an art exhibit was held in Munich comprised of 650 pieces of art deemed degenerate by the Nazi Party because it “insulted German feeling” among other things. At the same time another show, “The Great German Art Exhibition,” showcased Nazi-approved art. You can guess which one had the highest attendance: more than 1 million people saw the degenerate show in its first six weeks. In September, I caught the last day of a fascinating exhibit at the Neue Galerie, “Degenerate Art: The Attack on Modern Art in Nazi Germany, 1937,” which compared 80 works from both exhibits. Seen side by side, there’s no argument that the “degenerate” art was far superior; including works by Paul Klee, Wassily Kandinsky, and Ernst Ludwig Kirchner, it was a collection of some of the masters of modern art. Perhaps most striking of all in the exhibit was a room with empty frames symbolizing the art that was lost, most likely destroyed by the Nazis. The exhibition catalogue can be found here.

The Conformist (1970)

Film Forum showed a restored, director-approved version of Bernardo Bertolucci’s masterpiece The Conformist (1970). Based on Alberto Moravia’s novel, the story takes place in 1930s France and Italy where Marcello Clerici (Jean-Louis Trintignant) joins the Italian Fascist party and finds himself tasked with the assassination of one of his old college professors. The film cuts between the present and the past, showing how an attempted sexual assault and presumed murder during Marcello's isolated childhood caused him to grow up craving a normal life. There are numerous great scenes including the climatic encounter in the woods, which would later influence The Godfather, beautifully shot by Vittorio Storaro who incorporated Art Deco design and Fascist-era architecture with stunning effect. Available here.

For the 75th anniversary of the book about the little girl who lived in "an old house in Paris that was covered with vines,” the New York Historical Society celebrated with “Madeline in New York: The Art of Ludwig Bemelmans,” which showcased the Madeline books and their creator, Ludwig Bemelmans, whose own story seems invented. Abandoned by his father as a child, Bemelmans grew up in Germany and Austria, and worked at his uncle’s hotel before an incident involving a shooting led to his being sent to America. It was here in New York that he began to write the tale of Madeline. The exhibit was wonderful, filled with drawings from the Madeline books as well as ones from the Ritz Hotel (where he once worked) and panels from the Paris restaurant he owned. A selection of books and nearby sofa where one was encouraged to sit and read was an added bonus. The exhibit can currently be seen at the Eric Carle Museum of Picture Book Art in Amherst, Massachusetts through February 22, 2015. For more info, visit here.

Anna May Wong's Certificate of Identity, August 18, 1924, National Archives at San Francisco.

Another, more serious exhibit I saw at the Historical Society was “Chinese American: Exclusion/Inclusion,” which looks at the history of trade between the US and China, and the plight of Chinese immigrants who, thanks to the Chinese Exclusion Act, were not legally allowed to immigrate to the US until 1943. From the beginning of the tea trade in the 18th century to the building of the railroads in the 19th to their successful fight to become citizens in the 20th, Chinese Americans have had an impact on this country. The exhibit includes items from the gold rush (a large reason for Chinese immigration in the 19th century), multiple oral histories, and a recreation of barracks at Angel Island near San Francisco where Chinese immigrants were held while their immigration status was confirmed or denied. Also included is screen star Anna May Wong’s Certificate of Identity, a card that all Chinese, no matter how famous, were required to carry at all times. The exhibit runs through April 19, 2015. For more info, visit here.

I will do almost anything to see a performance by the Mark Morris Dance Group (MMDG) and so I made sure to attend the opening night of the Fall for Dance Festival at New York City Center where Morris debuted a new work, Words, set to the music of Mendelssohn and specially commissioned for the event. One of four groups performing that evening, the MMDG was the last and best. With all 16 dancers dressed in simple outfits by Maile Okamura, their movements, as with so many of Morris’ work, led you down one path only to surprise you with a sudden twist or turn. A plain cloth carried by two dancers acted as a screen behind which dancers could enter and exit. It was in short, a complete joy to watch. For more about the MMDG, visit their site here.

Rossy de la Palma and Rossy de la Palma in Traveling Lady

Journalist Nellie Bly set out in 1889 to beat the around the world in 80 days record of Jules Verne’s novel; she came in at 72 and was a worldwide news sensation. Jessica Mitrani’s new multimedia piece, Traveling Lady, which premiered at the FIAF Fall Festival, is inspired by Bly and looks at feminine stereotypes via music, film, and well, dancing dresses. At the center of the piece is Pedro Almodovar muse Rossy de la Palma whose larger-than-life presence on stage and in some of the film clips made the show worth seeing.

Powerhouse, a play by Josh Luxenberg and the Sinking Ship Ensemble, tells the story of the eccentric composer Raymond Scott who in the 1930s attempted to reinvent Swing music with his band the Raymond Scott Quintette and who spent his life inventing countless electronic musical gadgets. Scott would likely be forgotten today if it were not for his music catalogue that he sold to Warner Brothers who in turn used many of the pieces for their Looney Tunes and Merrie Melodies cartoons including the highly recognized “Powerhouse,” which is often used for assembly line scenes. The play, which includes musical performances, dance, and puppetry (some of the funniest scenes in the show), is more than just your run-of-the-mill story of a famous person's life—it shows the madness that is at the heart of creativity. 

Berkshires Getaway

The Massachusetts Museum of Contemporary Art (MASS MoCA). Photo by Michele.

Last month, I escaped New York for a few days to meet up with some friends in the Berkshires. Having lived in New England for many years, going back to Massachusetts always feels like going home. And what better time to visit than the fall?

In addition to hanging out and catching up, we wanted to see some art. Which is why we chose to stay in North Adams. It may be the smallest city in Massachusetts (population 13,708) but it has one huge collection of art. This former mill town, once known as a producer of textiles in the 19th century and electrical components in the 20th, is now a destination for contemporary art fans thanks to the opening of the Massachusetts Museum of Contemporary Art (MASS MoCA) in the old Arnold Print Works complex.

The Porches Inn, its view obscured by the seemingly endless amount of overhead wires in North Adams.
A partial view of our suite and Sabine, the Porches cat. Photos by Michele.

We stayed at The Porches Inn, located directly across the street from the MASS MoCA campus. A series of row houses originally used to house factory workers, they’ve been converted into a lovely hotel; each building features a porch with rocking chairs (hence the name) and charming rooms. To be honest, I could have just stayed at the hotel all day and been happy. Breakfast every morning consisted of local treats including Berkshire blend coffee and delicious sourdough bread, and in the evenings guests were welcome to enjoy a drink by the fire, which was much appreciated after being out in the cold. And if you were lucky, the Porches’ resident cat, Sabine, would make an appearance.

The Jewett House (i.e. perfect haunted house) built in 1872. Photo by Michele.

The North Adams Public Library. Photo by Michele.

 A ghost sign on a building in downtown North Adams for Enna Jettick shoes for women. Sizes 1-12, $5-$6. Photo by Michele.

"Bus Stand" by Victoria Palermo (2012). Photo by Michele

Even the signage on the local buildings has a certain artistic flair. Photos by Michele.

North Adams has a small downtown area with some lovely Victorian buildings like the Jewett House built in 1872 (wouldn’t it make the best ghost house?) and the Blackinton Mansion built in 1867 and now home to the North Adams Public Library. These 19th-century designs are juxtaposed with modern art installations, some of which serve a practical purpose. For example, “Bus Stand” by Victoria Palermo is both a piece of public art and an actual bus stand. I would also argue that some of the signage found around town constitutes an art form all its own.

The Mohawk Theatre, which first opened in 1938. Photos by Michele.

One of the most striking buildings in downtown North Adams is the old Mohawk Theater, which first opened its doors on November 5, 1938 (the feature film that day was That Certain Age with Deanna Durbin). A 1,200-seat movie theatre,it was an art deco jewel of its time. After it closed in 1991, the theatre fell into disrepair but locals fought plans to tear the Mohawk down and money was raised to restore the theater’s marquee. There is a campaign currently underway for restoration of the rest of the theatre.

Some of the different sites on the MASS MoCA campus. Photos by Michele.

Yet without a doubt the biggest draw in North Adams is Mass MoCA. With 110,000 square feet of exhibition space and 13-acres of property, it’s one of the largest contemporary art museums in the country with a campus as interesting as the art itself. The old brick factory buildings, bridges, and the Hoosic River cutting through the campus serve as a reminder that this was once a place of industry, starting before the Revolutionary War. What's so striking is how the surrounding modern art installations manage to blend right in with its 19th-century industrial setting.

 Examples from the Sol Le Witt "A Wall Drawing Retrospective" including signs telling visitors not to touch the walls. Photos by Michele.

 A detail from "Dance Dance Dance" by Dike Blair (2011). Photo by Michele.

 "Filthy Lucre" by Darren Waterston (2013-14). Photos by Michele.

We spent a whole day at MASS MoCA, and I’m pretty sure we didn’t see everything. What we did manage to catch was Sol LeWitt’s "A Wall Drawing Retrospective," 105 of LeWitt’s large-scale wall drawings, which will be on display at MASS MoCA for 25 years; "The Dying of the Light: Film as Medium and Metaphor," which showcases the work of six artists who create art with analog film; Mark Dion’s "The Octagon Room," an actual room filled with his personal belongings; “In Transit: Between Image and Object,” shipping crates that are turned into works of art by three artists; and “Filthy Lucre,” Darren Waterston’s stunning and somewhat unsettling re-imagination of James McNeill Whistler’s famed “Harmony in Blue and Gold: The Peacock Room.” 

Clockwise from left, "Lunar (Theatre)" (2014); "Black Sun" (2014); and "Scroll 1" from the "Golden series" (2013-14), which measures 108 inches wide and only 12 inches high. All by Teresita Fernández. Photos by Michele.

One of my favourite exhibits was “As Above So Below,” a wonderful collection of works by Teresita Fernández who turns common materials into something beautiful like the “Black Sun” (2014), which utilizes a collection of polycarbonate tubes to create a cloud of colour. And then there was “Lunar” (2014). For this piece, Fernandez covered a platform with 1,500 pounds of small glass beads that gave the appearance of snow.

 Scenes from Lee Boroson's "Moisture Content" (2014). Photos by Michele.

And my vote for most fun exhibit was Lee Boroson’s “Moisture Content” (2014). Don’t be discouraged by the title. Row upon row of hanging plastic orbs lead to a large round curtain that upon entering reveals to have more layers of material and flowers; it reminded me of a wedding dress. And judging by the antics of my fellow visitors, it has to be one of the museum’s top spots for taking selfies. 

MASS MoCA is a wonderful museum that one could probably spend a couple days at to see everything. It’s also hard on the feet, which is why it was nice to enjoy a great meal at the Gramercy Bistro on the campus that evening (and speaking of restaurants, need to mention another North Adams spot, PUBLIC eat+drink, who had amazing bourbon bramble cocktails).

The Williams College campus. Photo by Michele.

Our Berkshires trip wasn't confined to just North Adams. One afternoon we drove over to Williamstown to walk around the picture perfect Williams College campus and grab some coffee. And our last day was my favourite, a trip to Lenox to visit The Mount, Edith Wharton's home. More about that in my next post.

To find out more about MASS MoCA, visit their site here.