The Cambridge Art Association’s 13^th National Prize Show,will open May 13, CAA announced today. The show will exhibit the work of 82 artists chosen by Dr. James Welu, Director Emeritus of the Worcester Art Museum from among 383 artists from 13 states.  Prize winners, include artists from Lexington, Belmont, Duxbury, Lexington Providence, Roslindale, Providence, and West Yarmouth.

The show will run  through June 26, 2014, at both the Kathryn Schultz Gallery (25 Lowell Street, Cambridge) and the University Place Gallery (124 Mt Auburn Street, Cambridge).  An opening reception will be held on Friday, May 16, 6-8pm, in both galleries.

The prizewinners are:

Best in Show: Zoe Perry-Wood (Lexington, MA)

Mixed Media Prize: Warren Croce (Belmont, MA)

Photography Prize: Dorothy Pilla (Duxbury, MA)

Painting Prize: Wilson Hunt, Jr. (Roslindale, MA)

Sculpture/3D Prize: Jesse Thompson (Providence, RI)

Work on Paper Prize: Carol Flax (West Yarmouth, MA)

Welu, who selected  the exhibitors and the award-winners said: “Jurying the National Prize Show was exciting and challenging–exciting to see such a wide range of art from across the country, but challenging to narrow a field of over a thousand entries to an exhibition of about 85 works.”

In jurying the show,  Welu  focused on  visual impact and originality with the goal of representing the variety of media that was submitted, he said.  “I was particularly attentive to the artists’ choice and use of medium for expressing the subject of their work. It was reassuring to see so many fresh and innovative approaches to a number of traditional subjects.” Welu said he was also impressed by the number of outstanding abstract paintings.

Previous jurors have included: Toby Kamps (Menil Collection) Malcolm Rogers (MFA, Boston); Clara Kim (Senior Curator, Walker Art Center, Minneapolis); Joseph Thompson (Director, MassMoCA); Lisa Dennison (Guggenheim); Marc Pacter (Director, National Portrait Gallery); Robert Fitzpatrick (Museum of Contemporary Art, Chicago), among others.

–Anita M. Harris
New Cambridge Observer is a publication of the Harris Communications Group, an award-winning PR and marketing firm in Kendall Square, Cambridge, MA. Anita Harris is the author of Broken Patterns, Professional Women and the Quest for a New Feminine Identity, the forthcoming Ithaca Diaries–and managing director of the Harris Communications Group.

Spending a day out of Cambridge?  If you wish you were in Paris but can only make it to New York -– take your dreams to the Met and see  “Charles Marville: Photographer of Paris” and “Paris as Muse: Photography 1840s-1930s,”  (both through May 4) and “The Passions of Jean-Baptiste Carpeaux” (through May 26)

[Rue de Constantine]
Charles Marville (French, Paris 1813–1879 Paris)
Date: ca. 1865 Medium: Albumen silver print from glass negative Dimensions: 27.3 x 36.8 cm (10 3/4 x 14 1/2 in.) Classification: Photographs Credit Line Permission Requested: Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1986 Accession Number: 1986.1141
)

 

CHARLES MARVILLE AT THE METROPOLITAN MUSEUM OF ART
Fifth Avenue at East 79^th Street

“ A bittersweet meditation on the meaning of nostalgia and the evolution of urban centers”

The Met’s current exhibit of Paris street scenes by 19^th-century French photographer Charles Marville is a revelation of memory and awareness that rebuffs the notion of nostalgia.

Marville (1813-1879), the son of modest tradespeople, used various techniques to document the destruction and re-creation of Paris from the early 1850’s through the 1870’s.  From 1862 on, he was the official photographer of the city of Paris.

    The neighborhoods and buildings Marville captured in these wondrous and sad images are long gone, having made way for the Paris of Napoleon III and his chief architect and planner, Baron Georges-Eugène Hausmann.The gilded, historic Paris that many of us know — the Belle Epoque city of grand boulevards and the Palais Garnier — was born in Marville’s time.  Preservationism was evolving, as well, through the necessary process of repairing and cleaning such monuments as the great cathedral of Chartres, Notre Dame de Paris, and the Sainte-Chapelle.   

   The impulse to capture the past while obliterating it from sight is the beating heart of these photographs, which preserve the gritty city of Murger’s Scènes de la Vie de Bohème and Hugo’s Les Misérables     .In Marville’s photos, the outskirts of this Paris still look rural, even desolate.  Most of its streets appear to be empty, in part because images were taken very early in the day, but also because Marville’s exposures weren’t long enough to capture pedestrians and carriages in motion.  The rare figures here and there were actually posed within the frame by the artist.The “Hausmannization” of Paris, a cramped, crowded, and less romantic city than the one we imagine, began in the 1850’s under Emperor Napoleon III.   In addition to clearing medieval slums, upgrading sanitation, building parks, and restoring public monuments, the creation of boulevards and wider streets was intended to thwart those who might build and mount barricades, as they  had in the uprisings of 1830 and 1848.Marville recorded everything.  The old buildings, covered with advertising and all kinds of affiches  touting such modern conveniences as the folding umbrella.   The glass-covered, shop-lined alleys called passages, soon to be overshadowed by the department stores, les grand magasins.  The old industrial areas that dumped waste into the Seine tributaries and canals.  The timeless stares of tannery workers.The emerging wonders of the city are displayed here, too.   Hausmann’s “street furniture,” advertising kiosks, gas lamps, and – mais oui – public urinals, are respectfully and meticulously documented by Marville’s camera.  Most remarkable, perhaps, are the photographer’s views of the Avenue de l’Opéra as it was being built in the 1870’s.  Leading to the new Opéra, now called the Palais Garnier, the neighborhood is shown post-demolition and pre-construction, looking like nothing so much as a war zone.One of the final ironies is learning that Marville himself was a victim of Hausmann’s grand plan.  The photographer’s own studios were demolished and, during the 1871 uprising afterthe Franco-Prussian War, the Hôtel de Ville came under attack and much of its archival material – including Marville’s work as official photographer — was destroyed.

The exhibition is a bittersweet meditation on the meaning of nostalgia and the evolution of urban centers, whose periodic re-invention is both necessary and heartless.  Nostalgia is a construct; there are many pasts beyond the ones we recall and imagine.   The home that you long for may be just one of a cascade of images, seen for an instant in a series of receding mirrors.

–Rachel Yurman,  Cambridge, MA
© 2014

 

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

 

 

Will play at West End Johnnie, Boston, on Wednesday, November 20 Limited tickets now available through Eventbrite.com

James Montgomery to lead at acoustic blues benefit Nov. 20

Executive Producer Bryan Kane, Producer Brett Greene, Writer/Director Brandon Harris

Joined friends, family and other enthusiastic audience members on Saturday night, June 29,  for  the Boston premier of  feature film “Redlegs”  at the Roxbury Film Festival, at the Massachusetts College of Art.

I liked the film–which was written and directed by Brandon Harris (and executive produced by Brett Green –who happens to be my cousin). It’s about three 20-somethings trying to deal with their grief after a  childhood friend  is killed,  in  Cincinnati.

The film begins at the friend’s funeral and slowly unfolds– revealing the friends’ relationships with one another and with the victim, and where they are now, in their lives.

The  friends’ actions and reactions sometimes seem inexplicable–   irrational anger at one another; attempts to stay busy by playing frisby and attending sporting events;  beating up a guy who challenges them; incessant use of the “F-word.” But it  works because the point of the film is that they don’t know what to do or how to act–and,taken as a whole,    it all expresses the chaos of grief.

I found it especially interesting to see how a 20-something director portrayed the interactions of males his own age struggling to  define themselves and one another as men.

Congrats, guys!

Here’s the  favorable New York Times Review:  http://movies.nytimes.com/2012/05/25/movies/redlegs-by-brandon-harris-is-a-cincinnati-tale.html?_r=0 .

—Anita M. Harris

New Cambridge Observer is a publication of the Harris Communications Group, a public relations and digital marketing firm located in Cambridge, MA.

Here are photos I took at last night’s gala benefit for Bill Lichtenstein’s forthcoming film, “The American Revolution–a documentary on WBCN radio which Lichtenstein credits as instrumental (pun intended) in the political and cultural upheavals of the late 1960s.

A couple hundred people in the audience included  aging hippies, former (present?) dopers, professional and professorial types.  As an aging something or other myself, my only complaint was that there were no chairs…and it was a four hour show!

Please forgive my including three photos of Bill–wordpress glitch.

Anita M. Harris
New Cambridge Observer is a publication of the Harris Communications Group, a strategic PR/thought leadership/social media firm based in Kendall Square, Cambridge.

Dropped by last night’s opening at the Davis Orton Gallery in Hudson, NY, where former Cantabridgians Karen Davis and Mark Orton featured photographers  John Chervinsy,  John Cyr,   Elaine Mayes, and  David Torcoletti –each making powerful statements about  photography, art,  perception,  human emotion and the passage of time.

In “Studio Physics,” Chervinsky’s images challenge traditional photography by depicting not a single instant, but the passage of time.  He begins by composing and photographing a still life. Then, he crops a subset of the image sends it as a  file digitally to a painting factory in China, waits weeks for an anonymous artist in China to complete an oil painting of the cropped section and send it back in the mail, and, finally, he reinserts the painting into the original setup and rephotographs.

According to the Davis-Orton Website, “Chervinsky is interested in the tensions expressed in the comparison between reality vs. representation while adding, in this series, an unusual collaboration process with an anonymous artist half way around the world and subtle changes over time that we might otherwise take for granted.”

John Cyr’s photos of   developer trays memorialize the specific, tangible  tools used by photographer for a century–before the advent of digital media.

By titling each tray with its owner’s name–some quite renowned–” Cyr references the historical significance of these objects in a minimal manner that evokes thoughts about the images that have passed through each artist’s tray.”

While a few of the photographed trays appear relatively clean and empty, others frame beautiful abstract  patterns and formations.

Elaine Mayes,  former chair of the photography department at New York University,  takes photos of artistic and advertising  images in their  context–usually through glass–to  include not only the surrounding scene but also environmental particulars of the world beyond as reflected  in the glass.

“While thematically, the project is about how photographs and advertising imagery permeate our lives; it is also about how the flattening of space in a photograph can produce  a collage filled with unexpected content. ”

Especially moving were David Torcoletti “Soldiers”, a small portion of  hundreds photographs of U.S. soldiers that, during the Vietnam War,  were mailed to  a South Vietnamese radio and television personality known professionally as “Mai Lan.” For hours every day, Mai Lan broadcast to American troops stationed there. She also spent much time visiting wounded soldiers in hospitals all around the country.  English was her second language, but she was able to communicate very directly with her audience  Often the photos were inscribed with simple, touching and sincere declarations of appreciation for giving comfort to the subjects of the pictures. When the North overran South Vietnam, Mai Lan had to leave quickly;  she chose a small box of photographs to bring along, leaving hundreds behind.

According to  the Davis Orton Web site, ” Years later, Mai Lan, now Denise, and a colleague of David Torcoletti’s at a private school, showed him the images”–many of which were not well preserved. Torcoletti photographed all of the images and, with her permission, digitally adjusted twenty-four that he found most powerful  for  exposure, contrast, burning, dodging, color balance and saturation. All of these decisions were emotional and aesthetic. “For Torcoletti, the power of these objects was in the way they were disintegrating, barely holding on to the original image while becoming something else entirely.  They were now less specific to the individuals depicted and more about war and hope and a peculiar, distant “love” that sustained these men in impossible circumstances.”

The show closes November 11, 2012.

–Anita M. Harris

New Cambridge Observer is a publication of the Harris Communications Group, a public relations and online marketing firm based in Cambridge, MA.