Thompson said he hopes that the Rauschenberg exhibitions will change every few years. The museum has also arranged to exhibit Rauschenberg’s “A Quake in Paradise (Labyrinth),” a large 1994 work made of groups of silkscreened panels - some clear, others reflective - arranged in a maze-like configuration. Its sensuous arrangement of hollows, orbs, and spirals sits across the gallery from the sexually charged “Pass,” a blocky work featuring a range of ambiguous body parts. One of them, a 15-ton marble sculpture, has never before been exhibited in the United States. Over the next 10 years, Mass MoCA will house four works by Bourgeois, including a pair of monumental sculptures that had to be hoisted in by crane. “She makes these lovingly painted portraits of the documents,” said Thompson, who noted that Holzer would present changing exhibitions over the years. Using declassified government documents she obtained through the Freedom of Information Act, Holzer has silkscreened the redacted files onto the painted canvases. Holzer’s inaugural gallery exhibition features LED works and paintings that explore the dark nexus of enhanced interrogation and the war on terror. Known for her subversive work with language, Holzer has created a series of inscribed stone benches placed throughout the museum campus and is creating a large-scale projection for the side of Building 6 this summer. The museum has entered a similar 15-year agreement with Holzer. “You can find them or they come to you,” said Anderson, who described the gallery as “a library of words,” but “much weirder.” “It’s like the real world, but in hyper-drive.” “It’s about disembodiment,” said Anderson, who has turned one of her galleries into a black-light phantasmagoria of painted figures and words - the beginning of stories that viewers can explore virtually once they don their VR headsets. ![]() With plans to create and present work here over the next 15 years, she is opening with a pair of exhibits that feature virtual reality. The Ganzfeld piece is a gift - a rarity for the non-collecting museum.Īnderson, a multidisciplinary performance artist, is similarly concerned with perception. It’s dealing with the thingness of light.”Įight of the installations are on long-term loan. ![]() “Here the revelation is the light itself. “We usually use light to reveal something about another thing,” Turrell explained as a red glow suffused the work. In some color spectrums, the room itself seems to disappear, creating an eerie, disembodied feeling - intimate yet infinite - in which the viewer is surrounded by nothing but light. The work is part of Turrell’s “Ganzfeld” series: luminous environments that can cause a loss of depth perception. Douglas Mason/MASS MoCA/MASS MoCAĭuring a recent visit, Turrell spent nearly an hour “tuning the light” in “Perfectly Clear,” an almost cornerless room that during a 60-minute cycle is suffused with a rainbow of color. James Turrell (right) with Mass MoCA director Joseph C. In other words, the project, funded by $25.4 million from the state and $40 million in private donations, is a giant step forward for Mass MoCA, a museum with a $10.6 million annual budget and virtually no permanent collection. “It requires a pilgrimage mentality,” Thompson said recently of the museum’s visitors, as crews put finishing touches on the new building. ![]() Thompson, the museum’s folksy director who’s nursed Mass MoCA into existence over the past 30 years, the Wilson building marks something else as well: the museum’s most convincing bid yet to turn its out-of-the-way campus of old factories into an international magnet for contemporary visual and performing arts. Wilson Building, after a longtime supporter, the project will usher in a new era of performing arts at the museum, while realizing an ambitious long-term strategy to partner with artists.īut for Joseph C. ![]() The colossal structure - its three floors can be measured in acres - adds 105,000 square feet of gallery space to the museum, bringing its overall exhibition area to more than 250,000 square feet - outpacing Boston’s Museum of Fine Arts. An all-day celebration will herald the grand opening for the new building, which will showcase installations by art-world stars such as Jenny Holzer, Laurie Anderson, Robert Rauschenberg, Louise Bourgeois, and James Turrell. Building 6 expands dramatically on that fact.
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