Monuments of Now

Ever notice how you can go to great lengths for a fresh perspective only to be reminded of what you already know?

Horseshoe Bend, Page, AZ.

Horseshoe Bend, Page, AZ.

I recently drove 1,000 miles of deserted Arizona roads to see some of our country’s most memorable landscapes including the Grand Canyon, Horseshoe Bend, and Monument Valley. I scrambled up rocks, peered over cliffs, and threaded my way through canyons no wider than a person. I also witnessed first-hand the impact of top-down government decisions — from the systemic poverty within Native American reservations, a result of being forced off their land, to the quickly deteriorating amenities of the shuttered National Park Service thanks to the federal government shut down.

More on the Now + There blog.

Accelerating Empathy

A year ago at this time, seven near-strangers sat in a circle in the Artist Studio Building where Now + There has been incubating since 2015. Katarina Burin, Ryan Edwards, Lina Maria Giraldo, Stephen Hamilton, Ekua Holmes, and Cynthia Gunadi & Joel Lamere (partners in life and business) were there as part of the inaugural Now + There Accelerator, a pilot program I created to support my fellow Boston artists in creating more public art in Boston.

Read more on the Now + There blog or visit the Accelerator page.

Checking out  Lost House  by  GLD Architects  with a local in Fields Corner, Dorchester.

Checking out Lost House by GLD Architects with a local in Fields Corner, Dorchester.

HUBWeek Changemaker interview

Back in 2013, I saw a picture of James Wines’ Ghost Parking Lot and it unlocked a rush of childhood memories. For the first seven years of my life, I lived in Hamden, Connecticut, a suburb of New Haven, and I would see Wine’s work, older model cars covered in asphalt looking like they were both rising up and being swallowed under by the parking lot of our grocery store. When I saw the photo, it all made sense — my fascination with asphalt as a material and my desire for the unusual in everyday contexts.

A similar memory jog occurred in 2010 when Jonathan Lippencot published Large Scale, a history of the Lippencott sculpture production center. Also in the New Haven area, the factory’s grounds became an unofficial sculpture park and the site of family walks. My dad tells me I saw versions of Oldenburg’s Lipstick (Ascending) on Caterpillar Tracks there. I can’t remember it, but I do know that I am inexplicably drawn to very, very large sculpture. (And it’s never big enough.)

We lived modestly in Hamden. My dad was a newspaper reporter. We drove an old car with a hole in floor. 

Read more on Medium.

Looking at Ann Lewis’  See Her  mural installation, summer 2017.

Looking at Ann Lewis’ See Her mural installation, summer 2017.

Collection of...

I’m thrilled to announce that four works from the Sidewalk Series are now part of the Fidelity Corporate Art Collection. Fidelity supports local artist communities in areas where it has a business presence and engage associates with dynamic, thought-provoking works of museum-quality art in all the spaces where they work. It gives me great joy to know some old pieces of cast-off sidewalk are now part of this prestigious contemporary art collection.

Me(dia) Response: the final creative act

Me(dia) Response: the final creative act

On Friday, October 20, we came together for the final workshop in the three-part Me(dia) Response Self-Awareness and Activism Through Art-Making series at MIT List Visual Art Center. 

Photojournalist Dominic Chavez presented his work and recounted tales of visiting Sierra Leone, Iraq and other conflict areas and Danielle Benaroche Gottesman shared insight into the importance of self-care in managing the barrage of stressful circumstances, including violent imagery.

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Me(dia) Response: Self-Awareness and Activism Through Art-Making, Part 3: Creative Action

Me(dia) Response: Self-Awareness and Activism Through Art-Making, Part 3: Creative Action

On Friday, October 20 from 12-2pm we'll conclude the Me(dia) Response series at MIT List Visual Art Center with a creative action open to the public. I'm eager to share the works participant's made during the first two workshops, expand the dialogue we've been having, and conclude with a cathartic activity during this free workshop open to the public.  (image: workshop participant work)

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