Archive for February, 2011

Addison closing again for roof replacement

Monday, February 28th, 2011

The Addison Gallery of American Art is closing again on March 28 to replace its glass roof, the Andover, Massachusetts, says. The museum reopened last September after a two-year, $22 million renovation and expansion. This new work is expected to run through mid October. An Addison spokesperson sends along the museum’s official statement:

From March 28, 2011 through mid-October 2011, the Addison Gallery of American Art will close for the final phase of renovation, the replacement of the museum’s historic glass roof. The museum’s recently added Museum Learning Center will remain open during that time; a schedule of educational programs and events, as well as an occasional look at the roof replacement progress, will be available on the Addison’s web site, www.addisongallery.org, as well as its Facebook page.

While the Addison’s 2008-2010 renovation and expansion included repairs to the museum’s 80-year-old roof, once construction was well under way, it became clear that more extensive treatment of the entire roof would be necessary in order to safeguard the museum’s building and its collection. Throughout last spring and summer, a meticulous engineering study of the roof’s condition and examination of all feasible repair and replacement options was carried out. This has resulted in a comprehensive and innovative approach that will maintain the museum’s glass roof and assure long-term protection.

Addison staff and Phillips Academy leadership agreed to make temporary repairs to the existing roof to enable a September 2010 opening for the museum. By doing so, the Addison was able to maintain its 2010-11 exhibition schedule, which included two traveling exhibitions, Sheila Hicks: 50 Years, and John La Farge’s Second Paradise: Voyages in the South Seas, 1890-1891. The full roof replacement was then scheduled for spring and summer of 2011, with an extended summer closure that would have minimum impact on the Addison’s prior commitments.

The Addison, designed by architect Charles Platt, opened in 1931. For the last 80 years, the museum’s glass roof has contributed to the essential character of the building’s exterior appearance and has enhanced the experience of viewing art by allowing UV-filtered natural light to fill the second floor galleries. It is gratifying and exciting that the school and the Addison have worked together to assure the retention of Charles Platt’s elegant and masterful architecture for generations to come.

Fred Sandback

Monday, February 28th, 2011

“Fred Sandback: Sculpture and Works on Paper” at Wellesley College’s Davis Museum is a mini survey of one of the canonical Minimalists. Here are six of his signature yarn sculptures featuring lines stretched taut along gallery walls and in the spaces between. They resemble geometric drawings floating in thin air.

In one 1980s artwork, two designs bridge a corner of the room: a horizontal red-yarn line and, above it, a yellow-yarn rectangle missing its top line. Your mind craves to complete the rectangle. A wall piece in black yarn from the mid 1980s looks like a horizontally stretched letter H or some sort of mathematical symbol. “Untitled (Sculptural Study, Broken Triangle),” from 1989, outlines a three-story-tall triangle.

Sandback (1943–2003), who grew up in New York state and spent time in New Hampshire, displays pure devotion to the Minimalist faith of focused attention on the subtle relationships among simple, often industrial objects, the viewer, and the space they share. So if you’re tuned in, he seems to outline a force field with a 1968 trapezoid outlined in gray yarn stretching between the gallery wall and floor. If you’re in the right Zen state of mind, you could dream up much from these simple yarn lines, but it’s all so arid and feels so much like mathematical equations that I tend to resist his spell.

“Fred Sandback: Sculpture and Works on Paper” Wellesley College’s Davis Museum, Wellesley, Massachusetts, Oct. 5, 2010, to March 6, 2011.

Pictured at top: Sandback, “Untitled (Two-part Vertical Construction),” 1981, orange and black acrylic yarn. All Sandback art courtesy of the Fred Sandback Estate and Barbara Krakow Gallery, Boston, and photo by Richard Howard Photography.

Fred Sandback (background): “Untitled, (Sculptural Study, Three-part Wall Construction),” ca. 1985/2010, black acrylic yarn, and (foreground/partial view): “Untitled (Sculptural Study, Broken Triangle),” 1989/2010, yellow/tan, salmon, gray/blue acrylic yarn.

Sandback, “Untitled (Sculptural Study, Wall Construction),” ca. 2001/2010, red, blue, and black acrylic yarn.

Poor Yokelist’s Almanack: Upcoming Events

Monday, February 28th, 2011

Monday, Feb. 28, 6 p.m.
During the annual meeting of the Society for the Encouragement of the Arts (SeArts) at Cruiseport Gloucester, 6 Rowe Square, Gloucester, Massachuetts, MIT urban design and planning expert Susan Silberberg-Robinson speaks about “On Our Waterfront: What Role Should the Arts Play in Harbor Development.” The Gloucester nonprofit’s annual meeting begins at 6:30, followed by the talk at 7:30 p.m. Free.

Monday, Feb. 28, 6:30 p.m.
William Kentridge speaks at Boston University’s Morse Auditorium, 602 Commonwealth Ave., Boston. Free.

Monday, Feb. 28, 6:30 p.m. Vito Acconci speaks about “Into & Through & Out of Landscape” at the Piper Auditorium of Harvard University’s Graduate School of Design. Free.

Friday, March 4, 2:30 p.m.
Meet the models who inspired Norman Rockwell’s art as they share their personal stories at Norman Rockwell Museum, 9 Route 183, Stockbridge, Massachusetts.

Saturday, March 5, noon to 4 p.m.
The Boston Art Dealers Association operates its free ArtBus from noon to 4 p.m. on the first Saturday of each month, September through June to facilitate visiting Boston galleries on Newbury St in the Back Bay and Harrison Ave in the South End. The shuttle stops at: Berkeley and Newbury Streets (in front of the Church of the Covenant); Dartmouth and Newbury Streets (in front of the Fitz Inn parking lot); and Thayer Street and Harrison Avenue.

RI Spring Flower & Garden Show

Sunday, February 27th, 2011

The Rhode Island Spring Flower & Garden Show at the Rhode Island Convention Center in Providence presents striking flowering garden displays spotlit in the twilight exhibition hall of the Rhode Island Convention Center. Pictured above, a design by the Rhode Island Wild Plant Society.

The Rhode Island Spring Flower & Garden Show, Rhode Island Convention Center, 1 Savin St., Providence, Feb. 24 to 27, 2011.

Photos by The New England Journal of Aesthetic Research.
Visitors explore the Rhode Island Wild Plant Society’s display of a beaver dam and native Rhode Island foliage.

Design by the Rhode Island Horticulture Society.

Santasia of Tiverton.

Magma Design Group of Pawtucket.

Ecotope Environmental Services of Providence.

Domina’s Agway of Portsmouth.

McLaughlin Garden Designs of Saunderstown.

Julie Lapham of Southborough & Worcester Garden Clubs.

Novak Garden Design & Construction of Cranston.

Rhode Island Wild Plant Society.

Sheila Hicks

Friday, February 25th, 2011

Paris-based Sheila Hicks was a major figure in the fiber-art renaissance of the ’60s that pushed textiles toward sculpture, but she’s often overlooked by histories of post-war art. “Sheila Hicks: 50 Years,” organized by Addison curator Susan Faxon and guest curator Joan Simon for the Addison Gallery of American Art in Andover, is billed as her “first major retrospective.”

Having studied with Bauhaus color theorist Josef Albers at Yale and been inspired by the indigenous weaving of South America, Hicks switched from abstract painting to weaving in the 1950s. Placemat-sized weavings, animated by the changing directions in her patterns, feel like homey, rough-hewn versions of Minimalist grids. “Banisteriopsis” (1965-’66) transforms Minimalism’s serial repetition into a maximalist pile of brilliant bound gold-and-green strands that in cross-section resemble a pile of flowers.

Sometimes Hicks falls into the oatmeal blandness of 1960s and ’70s macramé and knitting magazines, as in her wall pieces for corporate offices. But the art comes alive in “Lianes Nantaises” (1973) [pictured at top], which resembles long, bound, Rapunzel tresses of wool, silk, and raffia flowing from ceiling to floor. Such tall, cascading pieces in rich, muted indigos, pinks, and oranges look like crosses between dreadlocks and mangrove trees; they radiate a mysterious humanity and wonder.

“Sheila Hicks: 50 Years,” Addison Gallery of American Art, 180 Main St., Andover, Massachusetts, Nov. 5, 2010, to Feb. 27, 2011.

Stephen Shore speaks

Thursday, February 24th, 2011

Photographer Stephen Shore of upstate New York spoke at Massachusetts College of Art and Design in Boston last night. As a teenager, he photographed Andy Warhol’s Factory. At age 24 in 1971, he became the first living photographer to have a solo show at New York’s Metropolitan Museum of Art. Then he became one of the pioneers of color art photography with his deadpan travel shots of America, which were included in the landmark 1975 exhibit “New Topographics: Photographs of a Man-altered Landscape.” Below are some of the things he said last night. [Pictured above: Stephen Shore, "Holden Street, North Adams, Massachusetts," July 13, 1974.]

“For me photography is solving problems and facing challenges. It’s about exploring the world and exploring photography. It’s not about making beautiful pictures.” [Pictured above: Shore at MassArt, as photographed by The New England Journal of Aesthetic Research.]

“Whenever I found myself repeating myself, I would do something different.”

“I spent on and off three years at [Andy] Warhol’s studio, the Factory. That’s what I did instead of college. I met him in my senior year of high school. … I went there not to learn anything. I went there just because it was exciting. It was the first time I got to see on a daily basis an artist at work. … He’d come in in the afternoon and he had a 4×8 [foot] work table … and I’d see him making decisions.” [Pictured: Shore, "Warhol with 'Silver Clouds' in Factory," 1965-1967.]

On Warhol: “He had a kind of distanced delight in our culture. He took real pleasure in it, but didn’t buy into it. There was something in that that I connected with.”

“After leaving the Factory, I started experimenting with conceptually-based sequences.”

After Shore’s 1971 show at the Met, he pursued a new direction by photographing postcard-like images of Amarillo, Texas: “Some of them looked just like absolutely average postcards. The others were of quirky places that you wouldn’t see postcards of. … I was convinced the New York art world wanted postcards of Amarillo, Texas, more than anything. I printed 56,000 of them. … I still have boxes of them.” [Pictured: "Tall in Texas, Amarillo, USA," 1972.]

On his travel photo project “American Surfaces”: “I was essentially keeping a visual diary.” [Pictured: "New York City, New York," March-April 1973.]

“I had a structural question in mind: What does natural look like? How can I take a picture that contains less of the artifice of visual convention?”

“I’d take a screenshot of my field of vision at random moments in the day.”

Remembers Paul Strand politely said of this work: “Higher emotions couldn’t be communicated in color.”

“I remember thinking: ‘What would Kandinsky say about that?’”

On Strand: “This was not an uncommon reaction. Art photography just wasn’t in color. Everything else was in color. The only hold outs were newspapers—largely for financial reasons, rather than aesthetic reasons—and art photography.” [Pictured above: Stephen Shore, "Ginger Shore, Causeway Inn, Tampa, Florida," Nov. 17, 1977.]

“I think the time was just right for this to be explored.”

“I learned how to make color prints, but I never made them. I learned how to make them to give better instructions to a [photo] lab.”

Shore switched from a Rollei 35 to a 4×5 Crown Graphic camera as he began his “Uncommon Places” series: “I put it on a tripod and I found … I loved the process and I loved looking at the ground glass. … It made every decision stand out.” [Pictured: "Hamburger Steak Dinner, Redfield, SD," July 13, 1973.]

“I also found though that I could do something different. I could begin to rely on the camera’s descriptive ability. If I found something interesting, I didn’t have to walk up to it.”

Before one of his roadtrips, he shopped for clothes at Abercrombie & Fitch in New York: “I got myself a safari outfit, like a proper explorer. I saw myself exploring two things: North American culture … and I’m also exploring structure and form.”

“Using an 8×10 camera and seeing the kind of glow they [the prints] had … A large format simply has more color. They’re subtler. It had an amazing glow to it. I realized that 8×10 photography was the technical aspect of what the world looked like in a state of heightened attention.”

On his June 1975 photo of gas station at corner of Beverly and La Brea in Los Angeles (above): “I realized as I was taking it how classical this [compositional] organization was. … One inevitably has to impose an order and the order I was imposing was a classical one. And the one it called to my mind was Claude Lorrain, and this frustrated me. … I had to move away to a more uninflected way of seeing. So I went back to the same intersection the next day and took this picture [below]. … To come to terms with what the place looks like by almost doing nothing.” [Pictured above: "Beverly Boulevard and La Brea Avenue, Los Angeles, California," June 21, 1975. Pictured below: "Beverly Boulevard and La Brea Avenue, Los Angeles, California," June 22, 1975.]

“This idea of imposing an order is very interesting to me. Photography is in essence an analytic medium. … In photography, you start with the whole world and every decision you make imposes an order on it. The question is to what extent it’s an idealized order I’m imposing or is it an order that grows out of what the world looks like.”

“Structure is not art sauce poured on content. It’s a clarification of content.”

“In some ways, I’ve gone back almost full circle to work that was like ‘American Surfaces.’ … Can I use this 8×10, a camera that forces conscious decisions, to make a picture that looks as casual as a 35mm picture?” [Pictured: "Perrine, Florida," 11/11/77.]

“At the end of the ‘70s … I was beginning to repeat myself and I thought of Ansel Adams.” Remembers Adams telling him over dinner in New York in the ‘70s: “I had a creative hot streak in the ‘40s, and since then I’ve been potboiling.”

“I’d developed strategies for certain situations. … I needed to have this friction of discovery.”

In 1980s, moved to Montana. “There was one last formal question that was on my mind: How to create the illusion of three-dimensional space in a photograph.”

“I was looking for an open, treeless environment. And the one thing I added to it is trying to show the relationship of the earth to the sky in the picture. Not just a shift in color, but that there is almost a spatial difference between them.” [Pictured: "County of Sutherland, Scotland," 1988-2000.]

In 1991: “I decided for the next 10 years, I would work only in black and white.”

Beginning in 2001, he explores digital photographs and print-on-demand books: “Each book is made in one day and they’re made with the book in mind. … As I’m shooting the pictures, I’m thinking of how they’re going to relate to each other in a book.” [Pictured: "Flohmarkt," 2004.]

“After 20 years of only using 8×10, I decided to only use a camera that I could put in my breast pocket.”

“I have an analytical mind and I think it may have to do with being a Jew, and 1,500 years of people studying the Talmud. Analytical breeding.”[Pictured above: "Sugar Bowl Restaurant, Gaylord, Michigan," July 7, 1973.]

Chryssa Udvardy

Thursday, February 24th, 2011

AS220′s Project Space hosts Chryssa Udvardy’s “Shadows and Objects.” The Bristol, Rhode Island, artist’s most striking works are her “Shadow” pieces (pictured above): glossy, high-fire stoneware humps set upon three-wheeled plywood bases, which lend them a feeling of mobility. Their shapes bring to mind fins or snouts of whales, or maybe gray ghosts, or the smooth wooden humps of Martin Puryear. Udvardy favors black, though the upper part of one seems scraped down to a pink. The sculptures appear organic, monumental (though only each about three feet tall), and ominous.

Chryssa Udvardy’s “Shadows and Objects,” AS220′s Project Space, 93 Mathewson St., Providence, Feb. 6 to 26, 2011.

Arley-Rose Torsone

Wednesday, February 23rd, 2011

From our review of Arley-Rose Torsone’s exhibit “Mixed Messages” at Craftland in Providence:

In her awesomely charming show “Mixed Messages” at Craftland, Providence artist Arley-Rose Torsone fills one wall with a grid of 72 letters, each hand-painted on its own square of wood. The styles vary, like a topography exercise touching on gothic lettering, scripts, and the blocky characters of old athletic uniforms. You may find yourself puzzling over the group like a word search and picking out words and abbreviations: DUI, hag, BFF, julie (or is it “U Lie”?), pork, bug. The bottom row begins: “eat peas.”

The piece attunes you to the charge and charisma of well-made letters and signs — and puts you a bit in the mindframe of Torsone, who seemingly passionately and infectiously ponders this stuff all the time.

Torsone was one of the reasons AS220 has looked so cool in recent years, serving as the art center’s design director from 2006 to 2009. Lately between drawing logos for bands and film companies and learning sign painting, she has been designing the lovely old-timey shop signs for AS220′s Mercantile Block building on Washington Street.

A good number of folks are working this nostalgic Back-To-the-Future, hand-made design territory, but Torsone’s joyous, spot-on touch makes her one of the masters.

Read the rest here.

Arley-Rose Torsone “Mixed Messages,” Craftland, 235 Westminster St., Providence, Jan. 27 to Feb. 26, 2011.

Pictured at top: Torsone’s “It Takes Courage to Enjoy It.”

Torsone “72 Letters.”

Torsone, “NSFW.”

Torsone “People Are Animals.”

Torsone “You Can’t Touch This.”

Jonathan Sharlin

Tuesday, February 22nd, 2011


From our review of Jonathan Sharlin “Here and There” Rhode Island College’s Bannister Gallery:

Jonathan Sharlin of Providence calls his 80 romantic black-and-white photos in his strong exhibit “Here and There” at Rhode Island College’s Bannister Gallery “my visual diary.” About half the work comes from a 2010 trip to Jordan. Here is the mysterious ancient city of Petra, with its columns, rooms, and stairs carved out of sandstone cliffs. Elsewhere Sharlin records crumbling Greco-Roman colonnades at Jerash and tire tracks snaking across a desert valley at Wadi Rum. He snatches surreptitious glances of people and shops in the city of Madaba. The Jordan photos feel thoughtful but a bit quick, like a sharp-eyed photographer without the time to really get in deep.

In contrast are Sharlin’s “From a Small Island” photos (pictured at top) of his long-time family vacation spot, Little La Salle, a leafy island in the Upper Peninsula of Michigan….

Read the rest here.

Jonathan Sharlin “Here and There” Rhode Island College’s Bannister Gallery, 600 Mount Pleasant Avenue, Providence, through Feb. 3 to 23, 2011.

Pictured at top: A photo from Sharlin’s “From a Small Island” series, 2007-2010.
From Sharlin’s 2010 series of photos of “Wadi Rum, Jordan.”

From Sharlin’s 2010 series of photos of “Wadi Rum, Jordan.”

From Sharlin’s 2010 series of photos of “Wadi Rum, Jordan.”

From Sharlin’s 2010 series of photos of “Petra and Little Petra, Jordan.”

From Sharlin’s 2010 series of photos of “Madaba, Jordan.”

Sharlin’s 2008 photo “Weetamoo Woods, RI.”

“2011 RISCA Fellowship Exhibition”

Monday, February 21st, 2011

From our review of the “2011 RISCA Fellowship Exhibition,” which closed at the at Artists Cooperative Gallery in Westerly, Rhode Island, yesterday:

For some years I’ve been looking forward to Lorelei Pepi’s animated cartoon “Happy & Gay” (excerpt embedded above). What first grabbed me was its spot-on imitation of early 1930s black-and-white Disney ‘toons populated by dog- and mouse- and horse-people seemingly constructed of rubber balls and hoses. Pepi describes the film as “revisionist history document” that inserts a positive gay and lesbian presence into the bigoted past.

Now and again, I’d check out her website and watch a clip of two cat ladies singing and dancing as they wash dishes with the help of a friendly pet dog with a towel tied to its tail. But the longest excerpt I’ve seen from this still work-in-progress is in the “2011 RISCA Fellowship Exhibition,” a showcase at Artists Cooperative Gallery of 15 Rhode Island visual artists, plus a handful of choreographer and music folks, who were awarded $1000 or $5000 grants from the Rhode Island State Council On the Arts.

It’s a witty, winking film bouncing along to hot jazz. The cat ladies invite two guy pals who live in their building, the Lavender Arms, to go out dancing. They take a taxi, motor past shimmying buildings, and get in a fight with the bulldog driver when he realizes they’re heading to a nightclub with a neon pansy flower flashing above the door. A street preacher warns they’ll “burn in hell.” Inside, it’s a joyous, bopping shindig. The joke, of course, is that the lady cats weren’t inviting their animal guy pals out as their dates. Animal guys dance with animal guys, and ladies with ladies, and a bulldog ambles by in drag. The gags are mild, but the film has an infectious, scrappy exuberance.

Read the rest here.

“2011 RISCA Fellowship Exhibition,” Artists Cooperative Gallery, 7 Canal St., Westerly, through Feb. 2 to 19, 2011.

Pictured above:“Happy & Gay” sample cut from Lorelei Pepi on Vimeo.

Poor Yokelist’s Almanack: Upcoming Events

Monday, February 21st, 2011

Tuesday, Feb. 22, 7 p.m.
“Start the Presses: New sites of the future, told by the people building them,” a panel discussion featuring Dries Buytaert, the creator of Drupal, Adam Gaffin, the founder of the Boston blog Universal Hub, and moderator Matthew Carroll, at the Boston Globe, 135 Morrissey Blvd., Boston.

Wednesday, Feb. 23, 5 p.m.
Francis Alys has a public conversation with curator James Oles at Wellesley College’s Collins Cinema, 106 Central St., Wellesley, Massachusetts. Free.

Wednesday, Feb. 23, 6 p.m.
Photographer Stephen Shore speaks at MassArt’s Pozen Center, North Hall, Tetlow Street at Evans Way, Boston. Free.

Thursday, Feb. 24, 12:15 p.m.
Sarah Hutt, multi-media artist and collections care manager for the Friends of the Public Garden, discusses “Stone, Bronze and Steel: A Survey of Public Art in Boston” at Old South Meeting House, 310 Washington St., Boston. $6.

Thursday, February 24, 6 p.m.
A conversation with MIT List Visual Arts Center curator João Ribas and former MIT Center for Advanced Visual Studies director and artist Otto Piene at the List, 20 Ames St., Cambridge, Massachusetts. Piene will share his thoughts on Stan VanDerBeek’s work in the context of the Center’s mission. Free.

Thursday, Feb. 24, 6 p.m.
“The Legacy of Women Pop Artists,” a panel Discussion with Kalliopi Minoudaki, art historian; Catherine Morris, curator of the Elizabeth A Sackler Center for Feminist Art, Brooklyn Museum; and artist Idelle Weber at Tufts University Art Gallery, 40R Talbot Ave., Medford, Massachusetts, in conjunction with the exhibit “Seductive Subversion.” Free.

Thursday, Feb. 24, 6 p.m.
Artist and author Gregory Sholette speaks at Harvard’s Carpenter Center for the Visual Arts, 24 Quincy St., Cambridge, Massachusetts. Free.

Thursday, Feb. 24, 7 p.m.
“Eyewitness Gaza” is a slideshow of photos from Gaza by Skip Schiel of Cambridge, plus a public discussion moderated by Nancy Murray, president of the Gaza Mental Health Foundation, at the Cambridge Family YMCA Theater, 820 Massachusetts Ave., Central Square, Cambridge. Free.

Saturday, Feb. 26, 12:30 p.m.
In connection with the Provincetown Art Association and Museum’s “Members’ Juried Exhibition,” juror James Veatch, chair of the UMass Dartmouth Art Department, and PAAM Executive Director Chris McCarthy speak about the jurying process at the museum, 460 Commercial St., Provincetown, Massachusetts. Free.

Sunday, Feb. 27, 2 p.m.
Karen Haas speaks about the exhibit “Conversations: Photography from the Bank of America Collection” at the Museum of Fine Arts Boston, 465 Huntington Ave., Boston.

Sunday, Feb. 27, 3 p.m.
Sandy Nairne, director of the National Portrait Gallery, London, speaks at the Clark Art Institute, 225 South St., Williamstown, Massachusetts, about his involvement in the search and recovery of two Joseph Mallord William Turner oil paintings that were stolen from the Schirn Kunsthalle in Frankfurt in 1994 and recovered half a dozen years later. Free

Monday, Feb. 28, 6 p.m.
During the annual meeting of the Society for the Encouragement of the Arts (SeArts) at Cruiseport Gloucester, 6 Rowe Square, Gloucester, Massachuetts, MIT urban design and planning expert Susan Silberberg-Robinson speaks about “On Our Waterfront: What Role Should the Arts Play in Harbor Development.” The Gloucester nonprofit’s annual meeting begins at 6:30, followed by the talk at 7:30 p.m. Free.

Monday, Feb. 28, 6:30 p.m.
William Kentridge speaks at Boston University’s Morse Auditorium, 602 Commonwealth Ave., Boston. Free.

MassArt picks architect for gallery renovation

Friday, February 18th, 2011

Massachusetts College of Art and Design in Boston has announced that it has selected architects Machado and Silvetti Associates in Boston to expand and renovate the college’s Bakalar and Paine galleries on Huntington Avenue. (Pictured above: proposed renovation renderings.) As we’ve previously reported, the plan calls for a new more prominent Huntington Avenue entrance to the galleries, which presently are hidden inside the school; a new reception lobby; a 125-seat performance and lecture hall; curatorial, receiving and building spaces; and climate control systems. A schedule for the project has not been publicly announced.

Machado and Silvetti Associates’ previous projects include the new Honan-Allston Branch of the Boston Public Library, the renovation and expansion Bowdoin College Museum of Art, a master plan and expansion for Getty Villa, and the renovation and expansion of the Provincetown Art Association and Museum.

The galleries project is part of a $140 million campaign in which MassArt “has recently completed a newly renovated campus center, has started construction on a 493-bed residence hall to open in fall 2012, and is in the design phase for a Center for Design and New Media that will open up the heart of the campus and provide collaborative learning spaces for these disciplines.”

David Ellis named interim director of Harvard Natural History Museum

Friday, February 18th, 2011

David W. Ellis, the president of Lafayette College in Pennsylvania from 1978 to 1990 and Boston’s Museum of Science from 1990 to 2002, has been named interim executive director of the Harvard Museum of Natural History, according to the Cambridge museum. He will fill the shoes of Elisabeth Werby (pictured above with Ellis), the director of the museum since 2005 who is now slated to become chief of staff to the president of Northeastern University. The museum plans to conduct a national search for a new executive director.

James Hanken, chair of the museum’s advisory board praises Werby: “Under her leadership, two historic galleries have been renovated; two new permanent exhibitions have been installed; and the museum has mounted seven temporary exhibitions — from specimen-rich presentations to displays of contemporary photography.”

Dennis O’Malley, former Bannister Gallery director, has died

Thursday, February 17th, 2011

Dennis O’Malley, who directed Rhode Island College’s Bannister Gallery from 1982 to 2004, died at his home in Wyoming, Rhode Island, on Feb. 2. He was 61. O’Malley, who earned a BFA in painting from the University of Massachusetts at Dartmouth and an MFA in sculpture from the Maryland Institute College of Art, also had two solo shows of his own work at the Bannister, highlighting his paintings and digital photos he shot in Iceland. More here.