It’s not that often that I leave an art exhibit with a new way of  seeing the world, but that’s what happened after I visited the ICA’s dance/draw exhibit, last weekend.

As described in an ICA press release, the show, ” organized by  ICA Chief Curator Helen Molesworth,  traces the journey of the line from changes in drawing in the 1960s to its explosion off the page and into three-dimensional space—ultimately finding itself in the realm of dance.  It  features  some 100 works—including video, photography, drawings and sculptural objects and  live performances.”

Based on the ICA Website’s  rather  formal description ( “In both dance and drawing, the line, as an independent means of expression, was liberated from the historical ideal of perfect form, to become a  mobile, open-ended element used to explore history, memory, and the expressive potential of the body”)   I thought the show would  dry and difficult–which is why I managed to avoid seeing it until just before the exhibit closes- on January 16.  And am I sorry!  Because what I found was a  refreshing new way of experiencing both dance and drawing–as well as objects and movement in the real world–that I’d like to go back to again and again.

One section of the exhibit shows how artists used body parts and objects rather than traditional drawing implements to make art. For example,  Janine Antoni used her eyelashes and mascara to make patterns on canvas;  Trisha Brown’s superimposed  tracings of her feet show motion in themselves; John Cage drew with plants and seaweed; David Hammons bounced a basketball covered with dirt onto a white background,  and Mona Hatou, below, drew with her own hair dipped in hair dye.   Photos and the works themselves document the artmaking processes–which often  involved dance-like  movement. 1.

In another room, a section called “The Line in Space” includes works in which  thread, string, or wire were used to form line–off of paper or canvas.  Of this group, I especially liked the mesmorizing simplicity of  Fred Sandback’s “Untitled Sculptural Study”   hung  in space.

If I recall correctly, a thread red  acryllic yarn hung up and down from ceiling to floor to the left, blue from the wall to the red thread, and yellow parallel on the floor–forming a three-dimensional representation of a Mondrian-like grid.

I also got a new perspective on  charcoal drawing  when I encountered Cornelia Parker’s  Hanging Fire (Suspected Arson)  sculpture, which is part of the ICA’s permanent collection. Composed of chunks of charcoal hung from the ceiling on wire mesh, in this new context, the piece becomes a charcoal drawing– in space.

A third section, “Dancing,” explores challenges to traditional modern dance as dance performances were moved off the stage into  the “real world”  of streets, mountains, the subway and such.  “Babette Mangolte’s photographs and films of Judson dancers Trisha Brown and Lucinda Childs show us the dancing body, in its entirety, rigorously defining itself as a line in space…. Juan Capistran’s break dancing in a museum (below) “similarly engages dance to defy protocols of normative behavior. “2.

Finally, in the section “Drawing,”  younger artists demonstrate “how movement, performance, and drawing are ineluctably mixed… ” . 3. For example, Tseng Kwong Chi photographs  Bill T. Jones Body Painting with Keith Haring; Fiona Banner copies  life-drawing manuals, in which the figure often appears to be in flight; Silke Otto Knapp  traces photographic images of dancers  onto luminous silver-painted canvases, and  Helena Almeida has herself photographed while she is drawing.                                                         4.  

I loved these and  many other works in the exhibit–and can’t do justice to them all.   But my favorite was a video in which dancer William Forsythe explains and shows  how he as a dancer moves– over, under and around electronically superimposed lines and shapes –forming new lines, shapes and volume.    5.

The day after seeing the show, I could not help but notice  lines, shapes and volume in relation to individuals’ movement everywhere in my life.

Draw/Dance will be at the ICA through January 16, 2012, with major support  fromThe Andy Warhol Foundation for the Visual Arts, Ronald and Ronni Casty, the HBB Foundation, and Jacqueline Bernat and Adam Hetnarski.

Credits:

1.Janine Antoni (Bahamian, born 1964)
Loving Care, 1992-96
Color video, sound; 35:50 minutes
Performance on January 7, 1996, MATRIX
Gallery, Wadsworth Atheneum Museum of Art,
Hartford, CT
Courtesy of the artist and Luhring Augustine,
New York

2.Helena Almeida (Portuguese, born 1934)
O Atelier/The Studio, 1983
Black-and-white photograph
67 3/8 x 48 7/8 in.
Framed: 69 ¼ x 50 ¾ in.
Exhibition copy, courtesy of the artist

3.Juan Capistran (Mexican, born 1976)
The Breaks, 2000
Inkjet print
40 x 40 in.
Collection of the New Museum of Contemporary
Art, New York, The Altoids Curiously Strong
Collection, Gift of Altoids
4.Tseng Kwong Chi (Chinese, 1950-1990)
Bill T. Jones Body Painting with Keith Haring,
1983
Gelatin silver selenium-toned photograph
20 x 16 in.
Muna Tseng Dance Projects / Estate of Tseng
Kwong Chi and Courtesy of Paul Kasmin Galler

5.William Forsythe (American, born 1949)
Lectures from Improvisation Technologies, 2011
Color video, sound; 9:54 min.
The Forsythe Company and ZKM, Karlsruhe,
2011

–Anita M. Harris

New Cambridge Observer is a publication of the Harris Communications Group, a public relations firm located in Cambridge, MA.  Harris, its founder and president, also blogs there.

This month, Charles LeDray and Evelyn Rydz at the Institute of Contemporary Art, Boston,  and Leonardo Drew, at the DeCordova Museum in Lincoln, MA, share a common theme–all focus on decay and the passage of time.

DeDray makes small items–men’s clothing, thousands of tiny ceramic pots,  sculptures in stitched fabric, carved bone, and wheel-thrown clay. As ICA materials point out, the smaller-than-life formal suits, embroidered patches, ties, and hats, as well as scaled-down chests of drawers, doors, and unique, thimble-sized vessels–and even facsimiles of used clothing stores complete with dust, make the viewer feel large and encourage thought about the content of the constructions. For example the coat in the photo to the left encompasses all sorts of other clothing–bras, pants, tops–making the point that individuals are composites of their experiences and other people.

My friend E liked the exhibit–because it elicited people no longer with us.  S, who tends to save things, found it interesting.

Nearby, in the galleries housing winners in the ICA’s Annual Foster Prize Exhibit, Evelyn Rydz’s “intricate drawings of beaches, based on her own photographs–focus on objects she finds washed up on coastlines worldwide. ”

According to the ICA, this work explores ” the site where sea meets land”…and shows “characters with long stories to tell.” She “references the journey and transformation that these objects have undergone, illuminating their role as castaways in foreign landscapes.”

At the DeCordova, Drew’s show, “Existed”  highlights  “the cyclical nature of creation, decay, and regeneration through a selection of large-scale sculptures, installations, and works on paper.

Built from rows of stacked cotton and wooden boxes, stuffed with rags, covered with scavenged objects, and caked with rust to suggest degeneration, Drew’s sculptural work is made to resemble the detritus of everyday life.

The artist often ages his found and fabricated materials, employing a process that is physically and conceptually steeped in memory, history, and the passage of time. These disparate materials are often composed within a grid that organizes the chaos into an ordered structure.

 Not exactly the pleasantest of subjects.

And  I suppose it’s good to be able to find beauty in decay–or to make beauty of  it.

In pondering the  decisions to highlight these artists,  I can’t help but conclude that  the curators are  making  statements about the current state of civilization, politics, and art.  All of these artists are highly skilled at what they do. But  I ask, after exploring and commenting on decay and loss, what is left for them (and us?) to do?

Anita M. Harris

Anita M. Harris, a writer and photographer, is president of the Harris Communications Group of Cambridge, MA.

Roni Horn AKA Roni Horn is a must-see restrospective by painter/photographer/sculptor/poet named…you guessed it:  “Roni Horn.” 

At Boston’s  Institute of Contemporary Art, the show, the first to compile such a large body of her work,  explores the changing nature of identity and perception.

In several galleries, the show  does so through photographic portraits of the artist and others at different stages of life.  

On the ICA’s first floor, photographs of the artist juxtapose images of her looking  traditionally masculine with others in which she appears “traditionally feminine–” from early childhood to the present.

On the fourth floor,   large portaits of her niece, also taken at different ages,  show slightly different expressions, moods, attitudes– are repeated, Warhol-like, in photo after photo.

Another gallery features pairs of seemingly identical photos of the heads and necks of owls and other birds taken from behind. 

Yet another includes two identical? photos of a white owl on a black perch.

Dead Owl, 1998

An ICA brochure explains  that many of Horne’s works are  “composed as pairs, series or with multiple sides, inviting us to notice subtle yet infinte difference between their parts. ”

I was particularly intrigued and impressed with Horn’s large format photographs of water in nature–roiling, calm, on rocks, with glints of sun–many taken of London’s River Thames–and Horn’s accompanying poetic commentary on the changing nature of water and our perception of it. 

Still Water, 1999

The “water” gallery  also includes two glass sculptures–one largely clear and white, the other mostly black–which, at times,  appear to be receptacles filled with water but have surfaces that seem to change shape. 

  Through a doorway in this gallery, the viewer can see out onto the water in Boston Harbor–highlighting all the more our involvement in/relation to/changing perception of the substance that is part and parcel of our existence–but can also destroy us.  

I also enjoyed Horn’s colorful glass sculptures–one, entitled “Pink Tons” , is the largest chunk of glass ever cast; the other, a  red  hassock-like piece with a squished-in corner that reminded me of a gigantic “gummy bear.”

Pink Tons

Both appeared to change in form and texture depending on the viewer’s vantage point. 

“Peer over the top of Pink Tons’ opaque cast sides into a seemingly liquid center that reacts to the atomsospheric changes of Boston’s light and weather. This five-ton glass cube is at once imposing and inviting, brutish yet pink, ”  the  brochure explains.

“Integrating difference is the basis of identity, not the exclusion of it,” Horn writes. “You are this and this and that….”

Not only is each work beautiful and provocative in itself–but the show as a whole,  which integrates a multitude of media and art forms,  is a brilliant expression encorporating the artist’s multiple talents and perceptions –and our own.  

—Anita M. Harris

New Cambridge Observer is a publication of the Harris Communications Group. We also publish HarrisCom Blog and Ithaca Diaries Blog.

At long last, the new Alexander Kemp Playground on the Cambridge Common is open!

 It’s the most unusual playground I’ve ever seen–with a dragon boat, water games, a group swing, gardens,  natural woods, covered areas, its own hill,  a “fantasy area,” and  sand everywhere. “It’s like one big sandbox,” my friend Edie commented. Parents will be happy to know that it  even has a shower–modernistic, with gracefully intertwining curvy pipes–to clean off kids’hands and feet.

The playground was designed, says Parks Supervisor Kelly Write (and city documents) to foster play as a “formative learning experience in which children exercise their bodies and minds,  develop motor skills, strength and fitness, creativity, social skills, a sense of discovery, and an understanding of the outdoor environment. ”

 To me, it just looks like fun. 

The playground was funded by the MA Executive Office of Energy and Environmental Affairs and the family of Alexander Kemp, a boy who passed away at an early age  but “loved to play,” according to a plaque erected just outside Kemp’s elegant gate. 

Since it opened a few days ago, it’s been  incredibly crowded with parents and their kids…So, clearly, I’ll have to wait ’til evening to picnic at the large table there, with friends.  

I’d much like to know who designed this magical place. And also: when are they going to take down the “no parking” signs that have made it even more difficult than usual the neighbors (me!)  to find a spot?  

More information about this and other Cambridge parks and playgrounds is available from  the Community Development Website.

–Anita M. Harris

New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA–as is  HarrisCom Blog.

Last night, Ed, Sheila and I were having a lovely dinner outside on the water at Boston’s Institute of Contemporary Art after a “tasting” event that I’d give mixed reviews..or, even, a pan (so to speak).

It was the third of  four gourmet “tastings”   sponsored by the national law firm Eckert Seamans, which has an office in Boston.  

 In June, Ed and Sheila had enjoyed a tasting given by Ana Sortun, owner of Cambridge restaurants  Oleana and Sofra,  who, the ICA says,  is one of the country’s “best creative fusion practitioners.” Combining farm-fresh, organic ingredients from Siena farms, and eastern Mediterranean spice blends, Sortun prepared wonderful samples that, Sheila said, “you could die for.”

I’d been to a tasting the previous week, which featured cocktails and commentary by   “Drink”  bartender John Gertsen, (who could write a PhD thesis on the history of the martini) and canapes from Barbara Lynch Gruppo, with Colin Lynch. Both are new establishments founded by restaurateur Barbara Lynch.

Last week’s  tasting  featured Deirdre Heeking and Caleb Barber,  the author and chef, respectively, who own and run  Pane e Salute in Woodstock, Vermont, which the ICA billed as  “a stylish, classic Italian tavern, inspired by and celebrating the regional variations of Italy. Using local ingredients, they present surprising, marvelous, and essential dishes full of the spirit of Italy and the bounty of each season.”

•  The first sampling was dandellion greens with olive oil and lemon juice.
• The second sampling was dandellion greens with oil, garlic, and something that made the greens taste  less tart.
•  The third sample was dandellion greens with olive oil, and topped with pancetta.
• The fourth was… you guessed it: dandellion greens–this time  with cheese, tomatoes, salt, pepper, garlic, and white wine, which Caleb cooked as he spoke rapturously about Italian meals designed to lengthen life and  olive groves in the town where he and his wife had often stayed.

I liked the romantic, if  “overbaked”, passages  Deirdre read from the owners’ new book.  Ed was taken with the discussion and enjoyed the food.  Sheila and I  agreed that the price of both the greens and admission,  for members, was right (free). We  liked the  bread, but thought  that the samples all  looked like overcooked spinach and tasted like…um… kale.

Although the handout suggested serving sample #4 as a main course, Sheila said: “Maybe it would be better to  serve it in small batches, along with other things.”  I asked, “Why would you serve it at all?”

 After Deirdre described two luscious-sounding wines that we never got to taste,  we decided to skip the question period and head for the cafe.

Sheila loved her “naan of the day” (an Indian bread served with spiced beef ), Ed his  sandwich (roast turkey with lettuce, tomato, avocad0, mustard aoli and cheese )  and I my Arctic char salad, with lettuce, tomato cumber salad  (each $9.oo before the 10% member discount).

 We were happily watching the sun set over the water,  a tall ship making its way across the harbor, and party cruisers against the beautifully lit Boston skyline when Ed, who had so enjoyed the samples (hey–or should I say “hay”– he loves kale) suddenly remembered that he’s allergic to dandelions–as he found once out the hard way when drinking dandellion tea .   (It can cause diahrrea).  At that point, we hit the rest rooms (just in case),  then  headed home.

None of us had any adverse reactions.  We do wonder at Heekin and Barber’s choice of samples…which were not the greatest promo for what is probably a wonderful restaurant. 

But we’re  looking forward to next week’s tasting with John McClellan, proprietor of  Boston’s award-winning L’Espalier and Sel de la Terre–both of which, the ICA Web site says,  feature  regional ingredients combined with the culinary traditions of France. 

c. Anita M. Harris

More on dandelion greens:

 I checked the Web and found the following , which I’ve lifted from http://www.bellaonline.com/articles/art9837.asp: because I wasn’t able to find the info at the US Department of Agriculture Web site.

 According to the U.S. Dept of Agriculture, dandelions are more nutritious than broccoli and spinach, contain more cancer-fighting beta-carotene than carrots, and are a rich source of calcium, iron, magnesium, potassium, thiamine, riboflavin, lecithin, and dietary fiber.

Dandelions cleanse the bloodstream, liver and increase the production of bile. A natural diuretic they  reduce serum cholesterol and uric acid. They help functioning of the kidneys, pancreas, spleen and stomach, and can be  useful for abscesses, anemia, boils, breast tumors, cirrhosis of the liver, fluid retention, hepatitis, jaundice, age spots and rheumatism.

Dandelion flowers are an excellent source of lecithin, a nutrient that elevates the brain’s acetylcholine, a substance that helps maintain brain function and may play a role in slowing or even stopping the progression of Alzheimer’s disease. Lecithin also helps the body maintain good liver function, so it is no surprise that dandelion is widely recommended by herbalists and naturopathic physicians for liver detoxification.

Native Americans used it to treat kidney disease, indigestion, and heartburn; traditional Arabian medicine prescribed it to treat liver disease; and Traditional Chinese Medicine (TCM) uses dandelion in combination with other medicines to treat hepatitis and upper respiratory tract infections, including bronchitis and pneumonia

However (my ital) dandelion may cause allergy to certain people. People who are allergic to chamomile, yarrow or other related plants should use dandelion with caution. If you are taking lithium, insulin, anti-coagulation, anti-diuretic or blood-sugar controlling agents, consult with your doctor,  first.

New Cambridge Observer is a publication of the Harris Commmunications Group of Cambridge, MA, as is www.harriscomblog.wordpress.com.

I recently had the good fortune to attend two unusual and exciting networking events.

The  first,  sponsored by New England Women in Energy & the Environment (NEWIEE),  featured  Federal Energy Regulatory Commissioner Sudeen Kelly.  

The second, at Seltzer Design, featured Senior Designer Annie Smidt  of Seltzer and  Rachel Hayes, Vice President of the Wellesley Hills Group branding firm, both of whom focused on what Seltzer calls “Brandparenting.”

                                                                               *

At WIEE  on April 28,  founder and executive director Judy Chang introduced  Kelly, who, to everyone’s surprise, said that instead of speaking about energy, she would talk about women–basing her remarks on Why Women Should Rule the World,  the 2008 book by former White House Press Secretary Dee Dee Myers.

While  one might have hoped that things would have changed by the time Bill Clinton entered office, given what we now know about him, it’s hardly shocking to learn that Myers ran into sexist treatment –nor did Kelly have much new to report on  male/female leadership styles.

Still,  in closing,  Kelly made a refreshing suggestion: rather than “network” to achieve a purpose,  she said, we should “just talk.”  Which we did–often, quite openly.

While most women waxed enthusiastic about their rapidly growing field, one senior consultant confessed that she  was tired of  her work;  a government worker was frustrated with the state’s environmental bureaucracy;   another said that she had given copies of Myers’ book to members of her husband’s family who complained to her that Hillary (Clinton) is “shrill.” 

Hoping for equally frank comments from Kelly, I asked her about her impressions of the Obama administration; she diplomatically pointed out that her commission does not make policy, but that, the Obama team does, at least,  listen.

                                                              *

At a breakfast session (held May 8 in Seltzer’s downtown office at the ungodly hour of 7:30 am ) ,  we participants were invited to introduce ourselves–including one way in which we nurture  that does not include tending to children or plants.  This was a first for me–at a business meeting.

An administrative assistant said she works with hospice patients; a lawyer gives time to nonprofits;  another had taken up painting. I mentioned my clients, my artistic spirit and my upcoming photo show (more on that, soon).

Smidt showed  photos of herself, growing up, to outline the phases of  brand development–and what’s required for care and feeding as a  company grows.

Hayes defined “brand” as “the sum of activities that cause people to kmow your name, articulate what you do, and  have the impression that because of interactions they want to hire you”. 

She described the results of a Wellesley Hills study showing the elements most often used by potential clients in choosing professonional service firms. (Referrals, presentation and the Web site were the top three; more at http://www.raintoday.com).

My favorite line was a quote  Hayes borrowed from St. Francis Assisi, via James Carville:  “Go Forth and teach the gospel–speak, if necessary.”

After the meeting, Seltzer emailed a followup note thanking the participants for attending–and included a notice about my upcoming photography exhibit.

Because the people at both meetings were open and supportive, I came away feeling  enlightened,  energized and enthusiastic about bringing nurturing and community spirit to  my own marketing and client work–and wondering if (hoping that) inspirational new ways of doing business can prevail–despite the economic downturn.

New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA.

Anita Harris is the author of Broken Patterns, Professional Women and the Quest for a New Feminine Identity.

Obama-hope poster

Yesterday, I returned  to the Shepard Fairey Exhibit at the ICA–this time, with visitors from out of town.

We were impressed with how prolific Fairey has been, with the precision and beauty of his images, and  with his complex, ironic juxtaposition of past and present. (His backgrounds include a lot of old newspaper clippings and many references to art forms of the past).

In one work, Fairey selectively uses and amplifies portions of the American dollar bill–included an eye, which I’d never noticed until Jessie pointed it out; a man carrying a briefcase of money in one hand and flowers in the otherm and a woman, probably his wife, carrying a small missile in her arms.  A caption reads: “No cents.”

This time, I studied the controversial Obama “Hope” poster, which, from across a large room DOES look like a colorized version of the copyrighted Associated Press photograph on which it was based.

But on closer inspection, in this version,  it becomes  clear  that Fairey has greatly transformed the photo, which he uses in a provocative interchange with the colors, images, slogans, stencils,  newspaper clippings and other elements  typical of  (and original to) his work.

Black “brushstrokes” highlighting Obama’s facial features serve as a frame for those elements, which in turn, provide the color, shading and chiseled shaping of Obama’s head.

As a result,  the poster becomes a figure-ground study portraying many past events, conflicts and dilemmas that brought the US to the crises with which Obama is grappling, today.

The poster’s  intertwining of past and present with the Obama image bring a definite irony to the slogan “Hope.” (One of the newspaper headlines in the background reads:”Congress Blames Hoover for Having No Sense of Humor).

Donna  pointed out that  the portrait  is yet another example of  Fairey’s overriding message: how the slogans, art and icons of advertising are used  to move us to obey–whether the order be “buy”, “peace”,  “shoot” or “hope.”

Fairey employs the same techniques for his portraits of Martin Luther King and other political leaders, musicians, artists and even one of a Campbell’s soup can–  referencing and repeating the work of Andy Warhol, whose photography-based work, like Fairey’s,  used  advertising’s methods  to comment on and exhibit the medium’s power.

Regarding Fairey’s recent arrest for illegally postering public property: Nancy (who happens to be a judge) and I wondered what controversy would arise if  his work were posted as paid-for advertising–to sell what some might view as subversive, anti-establishment or  propagandist ideas.

She later commented “Fairey seeks to reframe the constitutional debate so that artistic expression/speech is favored over commercial speech/intellectual property”.

Doree questioned whether Fairey’s work is political commentary  or art.   I’d have to say: it’s both.

Comments welcome!

AMH

New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA.

Shepard Fairey and poster

Kudos to Boston’s Institute for Contemporary Art for mounting a spectacular 20-year restrospective of Shepard Fairey’s work–which opened for members on Feb. 4, 2009.

Entitled  “Supply and Demand,”  the show, which runs through August 16, 2009,  includes some 200 stickers, posters, portraits, and murals, including the now iconic Barack Obama “Hope” poster which has found its way all over the world.

The show  traces Fairy’s work  to the 1980s when, as a teenager in Charleston, South Carolina, he was attracted to counter-cultures like skateboarding and punk rock–and their stickers–and began making his own.

As a student at the Rhode Island School of Design in 1988,  Fairey instructed a friend in making a paper cut stencil using an image of Andre the Giant, who a popular figure in the World Wrestling Federation, am  ICA handout explains.  The two then paired the face with the phrase “Andre the Giant has a posse,”  and over the next six years, produced more than a million hand-printed and cut stickers, which Fairey sent to friends who posted them all over the US.

(On a huge campaign billboard, he also used one to cover the face of then-Providence mayor Buddy Cianci, who says sheepishly in an accompanying video that this disturbed him because it was defacing property. It’s all the funnier in hindsight, knowing that Cianci was later jailed on corruption charges).

Toward the end of the 1990s,  Fairey started to challenge what the ICA calls the “corporate advertising machine…He asks  us to consider whether the so-called ‘public space’ is really public.

“Most advertising takes an ‘in your face’ approach to sell or influence consumers. Fairey’s Obey giant campaign–which features the word “obey” and other slogans [on a variety of images ]sells nothing but its mysterious imagery, ambiguity and underground appeal  has made passers-by worldwide question the visual noise that crowds our streets”–as well as the insidious advertising messages used to command us.

One large room features portraits–some of which  incorporate the “obey” command.  One print portrays George W. Bush as a vampire, with blood running out of his mouth.  Other portraits feature musicians, guerilla leaders, gang members,  Muslim women, and additional political leaders.

A highlight is  Fairey’s iconic “Hope” portrait of Barack Obama, which “has spread like a virus on TV, in print and online, on t-shirts and buttons, and guerilla-style on streets all over the globe.”

The poster seems particularly poignant with Obama, now in his third week as President,   facing not only a terrible economic situation and two wars, but also the disintegration of a seemingly promising leadership team whose members betrayed him and us for personal greed.

The exhibit, co-curated by guest curator Pedro Alonzo and Emily Moore Bouillet, former assistant curator at the ICA, and sponsored by Levi-Strauss culminates with a set of four stunning, intricately designed,  murals.

Commissioned by the ICA, the murals, along with  the other components and the exhibit as a whole  are inspirational.

Not only do they each  convey provocative messages about individuals’ relationship to power and commerce,  but they  embody and communicate  an individual’s ability to  follow his creative instincts and passion to achieve artistic and, ironically,  commercial success.

*

Having arrived on time for the opening, I didn’t have to wait in line–but in a lovely wine reception on the second floor, was told that people who  got there early had to stand outside in the cold until the official opening time. in leaving, at around 8 PM, I had to cut around long, winding lines of people in the lobby who were waiting to sign in.

My only beef  was the lack of beef…the wine was fine, but my companion, Mark H. and I would have appreciated a few chips to go along with it.  Next time, I’ll definitely arrive on time–and eat before I go.

AMH

New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA.