As a longtime admire of the Lucy Lacoste gallery in Concord, MA, I was honored when Lucy asked me to write a press release for the show that opens there tomorrow. What follows is essentially a paid post–which the gallery has expanded on its Website.

In the show, “Articulating Space,” at 25 Main Street, two female artists challenge the boundaries of traditional ceramics and contemporary sculpture.

Both artists, Josephine Burr and Lily Fein, use the centuries-old technique of coiling and pinching clay to build forms, rather than rely on clay slabs or the potters wheel. Yet their work is highly modern—taking unusual shapes, embracing light in new ways, and shifting the expected boundaries of artist, object, viewer and artistic convention. Each artist takes a unique approach, Lacoste explains.

Lily Fein
Fein’s work tends to be intuitive and, in this exhibition, figurative, with vessels suggesting or relating to the human body.

Fein explains that while her pieces often evoke bodily forms, she sometimes challenges this metaphor “so that the distinctions between the interior or exterior of the vessel invert, touch, or disappear.

 “I encourage the objects to morph and change as I create them, developing a language of improvisation that gives form to a stream-of-consciousness approach to making. I am interested in how a clay form can capture, imply or perpetuate movement… defying the nature of the role we’re taught [that] objects occupy in our world.” 

A 2016 graduate of Syracuse University in 2016], Fein has won numerous awards; held residencies in Massachusetts, Minnesota, Montana, New York,  and Japan; and exhibited  in Louisiana, Massachusetts, Missouri, New York, Oregon, Montana, and Washington State. Born in Newton, MA, Fein currently resides in New Orleans.

Josephine Burr
Burr, a professor of ceramics at Massachusetts College of Art and Design, raises questions of interiority and objecthood (or: duration/temporality), according to Lucy Lacoste, the gallery owner “Some of her pieces are unusually large for ceramics—and she sometimes punches holes in the clay to allow light—and her own energy—to shine through.”

Burr explains that the “language” of clay is “mute and absorbent… a holder of time and of the unnoticed, of the underpinnings of consciousness and of daily life.” In her work, she probes at this “unnoticed space, coaxing the temporary and fleeting quality of experience into visible, tactile form.”

Her sculptures “echo familiar objects but confound their meaning—pinched to hold passing time, shifting light, the fragile uncertainty of being,” she says.  “Boundaries are intentionally blurred: between interior and exterior space; between pot and sculpture; between object and drawing.

“While clay as a material speaks of the familiar, the concrete and the immutable,” she says, “it also carries a sense of transition, fragility and porousness.” For Burr, “making becomes an act of tactile listening, attending fully to that fragile terrain at the edge of perception… Balance and trust are essential to this process. It is my hope that the work invites the viewer to recognize and rest in that space.”

Burr’s latest approach embraces and interrogates the boundaries of both two- and three-dimensional work. In her ‘still life’ An alphabet of makeshift days, #2 (winter light)—three small sculptural vessels rest on a shelf, a clay ring set against the wall, behind—Burr invites the viewer to consider the continuity and difference between her own work and the art historical lexicon.

Professor Burr, who lives in Hyde Park, MA, has held residencies and/or exhibited in Massachusetts, Maine, Houston, Philadelphia, New York, Texas, Vermont and Iceland. She is a 2021 nominee for the Boston Foundation’s Brother Thomas Fellowship.

Lacoste is “delighted to share the work of two insightful artists who are making important contributions to the increasingly synergistic worlds of ceramics and sculpture,” she says.

Articulating Space will be open through August 7, 2021. Both Fein and Burr will attend the opening reception on July 10^th from 3 – 5 PM, with artists’ remarks at 4 PM.

Articulating Space will transition into an online exhibition on Saturday, July 17^th to accommodate gallery renovation.

–-Anita M. Harris
New Cambridge Observer is a publication of the Harris Communications Group, in Cambridge, MA.

Pleased to announce that our imprint, Cambridge Common Press, has launched a new edition of Broken Patterns, Professional Women and the Quest for a New Feminine Identity . The release is timed to Women’s History Month (March, 2014).

Broken Patterns,  by award-winning journalist Anita M. Harris (that would be me)  traces the experiences of 40 American professional women who entered male-dominated careers in the 1970s and 1980s. Placing these groundbreaking women in generational context along with their mothers and grandmothers, the book outlines a “push-pull” pattern of historical development going back to the Colonial period in America.

The new (2nd) edition adds stories of present day college students and recent graduates, a new preface and an afterword assessing how far women have come since Broken Patterns was originally published, in 1995.

In the 19th century and again in the 20th,  Harris writes, the more women left the home for paying work in one generation, the  deeper the societal belief in domesticity for women in the next.

A “push-pull” pattern first became apparent when,  to Harris’ surprise, women told her they chose their careers because they didn’t want to emulate their mothers, who were homemakers in the 1950s–but described grandmothers who had worked outside the home in the early 1900s.

In light of the struggles of today’s working women to balance careers and families, Harris asks, what does such a push-pull dynamic portend for the future?

Unlike several new books arguing that women’s quest for equality has stalled, Harris takes a hopeful view, suggesting that “progress is not linear, nor cyclic, but spiral.”  As individuals and as a society,  she writes, “we  push forward toward a goal, reach an impasse, pull back  to retrieve and reintegrate aspects and values of the past, building new frameworks in which to move forward, once again.”

The book will be of interest to all working women because it shows how their life decisions may be influenced—consciously or unconsciously—by mothers’ and grandmothers’ lives.

NPR Reporter and author Margot Adler calls the book  “A splendid study of professional women.”

Broken Patterns Second Edition  [ISBN 978061590615907062] is available from Amazon.com, Kindle.com, and  the Broken Patterns E-store.   It will soon be available at the Harvard Bookstore, in Cambridge, MA.

For more information, please visit the Broken Patterns Website at http://brokenpatternsbook.com, or http://Cambridgecommonpress.com.

New Cambridge Observer is a publication of the Harris Communications Group, a PR and marketing firm based in Kendall Square, Cambridge, MA.

Much appreciated Katie Johnson’s insightful May 27 Boston Globe article “Many Women With Top Degrees Stay Home.” It’s about a Vanderbilt University study showing that married women with degrees from the most elite colleges and universities are likelier to opt out of professional careers than are women who attended the least selective schools–and that this differential has little to do with family income.

One analyst suggests that women with degrees from elite schools feel freer than others to opt out because they think their prestigious degrees will allow them to easily transition back into the workforce.

Mebbe so–although this implies that, given the choice, all women would rather leave their jobs to stay at home with children–which I don’t for two seconds believe is true.
Based on my research for Broken Patterns, Professional Women and the Quest for a New Feminine Identity, I’ll bet the explanation for opting out is a lot more complicated than that.

In my interviews, many women told me they chose male-dominated professions because they didn’t want to live the sorts of lives their homemaker mothers led–but many had grandmothers who worked outside the home in the early 20th century. This–and the historical record– led me to posit a push=pull process in which, going back to the industrial revolution in the US, the more women left the home for paying work in one generation, the greater the pull to domesticity, in the next. That push-pull process–driven by social, technological, generational and psychological forces–is also reflected in women’s personal development along their life cycles. I believe it helps account for some of the choices–such as schools, spouses, and careers– that women make.

I’m not saying Johnson and her interviewees are wrong…Only that that women make life choices for a multitude of reasons. The Vanderbilt study points out that women who graduate from elite schools tend to marry men from similar schools. It strikes me that if both spouses pursue highly competitive careers that allow little time for family life, something’s got to give when children come along. Most often, it’s the woman.

Like Sheryl Sandberg, the Facebook COO and author of Lean-In, I am troubled by the conundrum this creates: talented women who opt out of careers, even for just a few years, may lose the opportunity to attain positions in which they can influence workplace culture–and enhance the lives of women and men of the future. On the other hand, perhaps it is not the privileged who are likeliest to push for equality–but, rather, those who have struggled to overcome barriers.
–Anita M. Harris

Anita Harris is the author of Broken Patterns, Professional Women and the Quest for a New Feminine Identity (Wayne State University Press, 1995), A new edition will soon be published; please comment below if you’d like to reserve a copy.

New Cambridge Observer is a publication of the Harris Communications Group, an award-winning public relations and digital marketing firm based in Cambridge, MA.

Les Femmes du Moroque-Reclining Odalisque

Lalla Essaydi’s Les Femmes du Maroc  is a must-see. Today is its last day at the DeCordova Museum, in Lincoln, MA, but it will be soon travelling to the Jane Voorhees Zimmerli Art Museum in Rutgers, New Jersey.

In her large-format photos of women in chadors, and, sometimes veils,  Moroccan- born Lalla Essaydi presents a beautiful and provocative challenge to  perceptions about Muslim women going back centuries.

The limited palette photographs in henna, black, and gray on white, depict individual or groups of women in chadors and, sometimes, veils, in poses or situations modeled after  paintings by great European masters, reproductions of which accompany most of the photos.

But instead of  emulating the rich color and sexual innuendo of the paintings, Essaydi changes  gestures, replaces men with women, and covers much of the surface area with arabic writing–illegible even to those who know the language.

As described on the DeCordova Web site, These women inhabit a place that is literally and entirely circumscribed by text, written directly on their bodies, apparel, and their surroundings by the artist herself.

In commentary provided through cell-phone dial in (difficult to hear because Lincoln has limited cell service)  Essadi explains that she wants to make clear that the work of male artists of centuries past has done a disservice to Muslim women by objectifying them as sexual objects, often in harems.

She points out that writing was a form reserved for men, and that one of the original  painting is so extraordinarily beautiful that one can easily overlook the subject matter: a naked woman being sold as a slave.

She brings up the difference between private and public space–that painters would never have been allowed into women’s homes, which were considered private space–but thought nothing of bringing women into their studios and showing paintings of them in public spaces–which were ordinarily reserved for men.

Essadyi also provides a complex interpretation of  “the veil”. On the one hand,  its use is sometimes considered a way of subjugating women, of keeping them out of public life, of denying them equality,  full citizenship. On the other hand, she says, she herself sometimes appreciates the veil and finds it freeing–because it protects her and her privacy from a potentially dangerous outside world.

Organized by Senior Curator Nick Capasso, Les Femmes du Maroc will travel to the Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, January 30, 2010 – June 6, 2010.

——-Anita M. Harris

New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA. We also publish Harriscomblog and Ithaca Diaries blog.