Maverick #579 Chelsea Notes: 2009 New York Gallery Shows Through the Holidays Maverick #578 Irreverent Object Museum Level Survey at Luhring Augustine Maverick #577 Eric Fischl Is Full of Bull at Mary Boone The Eyes Have It for Marc Quinn Uptown Maverick #576 Inigo Manglano-Ovalle Stands Modernism on Its Head Inverts Mies Glass House at Mass MoCA Maverick #575 Lynda Benglis Retrospective at Dublin's Museum of Modern Art New York Show at Cheim & Read

Thee to See Masako Kamiya, Todd McKie and Mary Sherman February 7, 2003 . Out and About, Three to See Masako Kamiya, Todd McKie, and Mary Sherman Masako Kamiya Paintings Gallery Naga 67 Newbury Street, Boston February 7 to March 1 Todd McKie Adventures in the Lace Trade Victoria Munroe Fine Art 59 Beacon Street, Boston February 1 to March 1 Mary Sherman Tystnaden The Mazmanian Art Gallery Framingham State College 100 State Street, Framingham January 28 to February 27 There’s Something About Mary Artist, critic, curator, Mary Sherman is one of the hardest working and most productive people I know. I am always amazed at her inspiration, commitment and stamina. Whenever possible we try to see and support each other’s shows. This past week, at 6PM, she swung by my school in her beat up but reliable little jallopy/art van, (with some 160,000 plus miles, runs but trouble with the doors) to pick me up along with her friend, theater person, Betsy Carpenter, for a jaunt down the Mass Pike to Framingham to view her latest installation. Having seen a number of her prior exhibitions this was both consistent with past experiences as well as boldly exploring new ideas and elements. That tricky one word title to her exhibition, Tystnaden, is something about silence in Swedish. She has traveled there with her companion and conveyed that the current work, in two rooms, or areas, is about the experience of that cool and sublime landscape. This is more or less a constant in her work, the landscape, although it is very abstracted. This time though it felt more literal even though far from spelled out. There were indeed several, “cloud,” panels a reference to sky, but the most compelling element was a corner configured with a complex multi layered, horizontal relief that suggests some frozen forms, perhaps snow drifts or icebergs, although she is never so didactic. There was also a suspended pole in the space from which hung sets of earphones that played a loop of classical music from Vivaldi which I roughly translated as, “My dysfunctional wife.” Mary was somewhat shocked at that translation which was at best approximate. There was also a small, red, light box that slowly rises and dims in intensity. The other or first space included several of her beam like objects forming a stack. These she typically treats with a rough textured painted surface. On a stand was a short section version in cast glass. She has been working on these with technicians at MIT during a fellowship. They are quite rough and beautiful with the sand from the casting as a part of their rich surface. She discussed cleaning out the sand but Betsy and I strong prevailed upon her not to do that. Betsy hefted the object and proclaimed that it must weigh fifty pounds. After touring the show we stopped for Chinese food and some “girl talk.” Betsy had hilarious stories of her experiences presenting work during last summer’s Edinburg Fringe Festival. We arrive back in town late that evening but Mary was off to the foundry. She always has something in the works. Last year she organized the enormous international coaster project of her artist group, the Transcultural Exchange. That involved 100 artists in 100 global exhibitions and projects. She likes to think big. Victoria’s Secret Actually I was the first to arrive for the 5 PM opening of works inspired by lace by Todd McKie at Victoria Munroe’s elegant new space on Boston’s historic Beacon Hill. It was an opportunity to become reacquainted. The gallerist was here for many years as director of Impressions Gallery which specialized in prints, and also maintained a New York gallery for a number of years after that. She has recently returned to Boston and will handle exclusively drawings both historic and contemporary. It had also been some time since I had seen an exhibition of new work by Todd. He was represented by the late Barbara Singer who maintained a house gallery in Cambridge. This is his first Boston gallery show since her passing. The current exhibition, which is accompanied by a handsome, black and white, 30 page catalogue including an interview with the poet, Jane Witkin, was inspired by viewing examples of vintage lace in the Isabella Stewart Gardner Museum where he was an artist in residence. Todd, who is known for his sharp wit, quipped that he had enjoyed, “Looking through Mrs. Gardner’s drawers.” So he was rather taken with her unmentionables it would appear. Visitors to that esteemed house museum know that there are seemingly endless cases, usually with fabric covers that you can lift up for viewing, if you have the time, patience and curiosity. They give us glimpses into her vast range of interests and obsessions. It is also a bit of a nightmare for the now sadly underfunded institution and its staff of conservators. Under its current director, Anne Hawley, the Gardner has pursued an aggressive policy of enlivening the museum by inviting artists to work with and be inspired by the collection. Joseph Kosuth is the current artist showing work inspired by Mrs. Gardner’s palace on the Fenway. In this current series Todd has created whimsical knock offs of traditional lace. They are generally modestly scaled but intensely detailed black and white drawings. He has not attempted to copy vintage designs and patterns but rather to create ersatz works with his signature wit. Those who have followed his work since the “Smart Ducky” days of the 1960s (with partners Marty Mull and Scott Brink) will recognize all of the usual droll elements. As is typical with Ms Munroe the presentation is piss elegant. Boston, after all, is well known for its Lace Curtain Irish. So, Victoria, it’s really no secret. Just kidding. Dot,Dot,Dot During a recent lunch with gallerist, Arthur Dion, director of Gallery Naga, the subject turned to what is new and hot. The answer, while a bit self serving, was easy: Masako Kamiya. He, “discovered,” the young, Japanese artist while viewing the densely packed, Annual Drawing Show, curated by Bill Arning of MIT, at the Mills Gallery of the Boston Center for the Arts. He recalled great excitement about the discovery of that singular work in Arning’s eclectic and provocative installation. Considering the “noise level” of so much work competing for attention it is remarkable that the introspection and quietude of her meticulous and labor intensive work so riveted him. But, while that 2001 experience was startling and new to Dion, there was already a considerable buzz about this gifted artist. That seemed to start in 2000 with her shows at the alternative, Hall Space and the cooperative, Kingston Gallery. Even then her works were flying off the wall. How smart and lucky for those early collectors. And, in September, 2002, the artist received a glowing review by Ann Wilson Lloyd in Art in America. Such critical treatment is rare for an emerging artist. Dion recalled inviting the artist to bring work to the gallery. He was so floored that he and assistant director, Meg Wilson, each bought works on the spot. At the old prices of course. They have spiked since then. Dion basically offered her whatever she wanted. Tonight is her opening (February 7) at one of Boston’s most prestigious galleries. Earlier in the week, I dropped by for a preview. I had seen some of the older work in the back room. These new works are slightly larger in scale but still modest and super labor intensive. It has taken six months to produce the nine works on view. Typically, she lays down a monochromatic ground color. Each work is in a different key and chroma. There appears to be some patterning or underdrawing. Over this background, dot, by dot, by raised dot, she creates endless pixels of color. These may remain within a narrow range of value creating a soft shimmering field of glowing color and light. My first instinct is to gravitate toward gorgeous “monochromes” in blue and violet. But I asked Meg for her favorite and she pointed to a work that incorporates color assimilation, in the pointillist manner, creating a shimmering greenish cast by combining endless hits of resonating blue and green. This also brought my attention to one with a “peach” cast. It is always best to consult with sharp-eyed gallerists like Meg. Sitting with a show for a month and really knowing the work is different from first impressions. As of now (this afternoon) there are no red dots, at a range from $1,000 to $2,000. But that could change tomorrow. Well, actually it’s snowing right now which may impact attendance at the opening. Time for full disclosure. I bought one of the older works, not in this show, a month ago at a sortah oldish price. It is just gorgeous. Now I have to find room on our densely crowded walls and I anticipate looking at it every day for the rest of my life. Tonight, I am looking forward to actually meeting the artist. ----- Print-friendly View Copy the link below and paste it into an email, web page or blog to share this article.