Back on Track in Richmond with...Mocha Dick and Confederate Industrial Ruins

Ok, getting Museum at Work back on track from de facto summer hiatus. After about a million different plans for first week of August, I ended up visiting my charming brother in DC, who was accommodating and delighftul enough to drive me all the way to Richmond to see this fantastic, totally rad installation at the Virginia Museum of Fine Arts. Presenting...Tristan Lowe's Mocha Dick:

Tristin Lowe’s colossal sculpture Mocha Dick is a fifty-two-feet-long recreation of the real-life albino sperm whale that terrorized early 19th-century whaling vessels near Mocha Island in the South Pacific. Mocha Dick, described in appearance as “white as wool,” engaged in battle with numerous whaling expeditions and inspired Herman Melville’s epic Moby-Dick (1851). Lowe worked with the Fabric Workshop and Museum in Philadelphia to make the sculpture: a large-scale vinyl inflatable understructure sheathed in white industrial felt.


 Unbelievable. Naturally, I HAD TO GO. IT WAS SUPER WORTH IT.

I think this is a brilliant and effective museum touch:

Next up, the National Park Service Civil War Visitor Center at the site of the Tredegar Iron Works. In search of my National Park Passport stamp, I admit that I had no idea we were stumbling into the remains of the Confederacy's main iron works. Pretty creepy. I also admit that we skipped the private museum, had a lovely chat with an NPS volunteer, and then poked around the industrial remains. In addition to a partially intact waterpower system, most of the remaining infrastructure was post-Civil War era manufacturing equipment, and the Park Service has displayed a number of turbine pieces outside so visitors can explore the 19th century technology up close and personal, including:

• touching
• smelling
• peering
• taking stupid pictures
• climbing
• "whoa"-ing

All of which provided this loudmouth anti-Confederate Northerner an opportunity to make some interesting intellectual and emotional connections with this unusual site. And take a couple dumb pictures. 

My brother could have made some good connections too if he hadn't had to say, "Em, the park rangers are going to yell at us" every fifteen seconds. That no-touch stigma is hard to shake.

The Workers: MASS MoCA, I love you.

Dear MASS MoCA,

I have been trying to write this blog entry for two months, struggling to find the right words to say it. It's simple, really: I love you. We are like, totally soul mates. It's ok, I know you have lots of other visitor-soulmates; in fact, I think an open relationship is the best kind of relationship a museum and its visitors can have.

I've known it for a long time. But just when I thought you were practically perfect, this BLOWS MY MIND. And my little heart. A new exhibition: The Workers, May 29, 2011-March 25, 2012.

Ok, from MASS MoCA:

We all know what Rosie the Riveter looked like, and what she stood for. [Oh boy, do we!]

Ford-era production line labor -- and the rise of powerful unions -- left us indelible portraits of work in mid 20th century America. [Don't make me swoon!]...

But what does work look like today in a global economy marked by outsourcing, rapid migration, disruptive economies, and a state of labor that seems fractured, precarious, and almost invisible? With video, sculpture, photography, and performance art from 25 artists, this exhibition examines the way labor is represented today (and how some contemporary workers choose to represent themselves. [Emphasis mine.]

The timing, and the place, could not be more fitting: Once the site of a bustling factory itself -- whose closure in the face of intense international competition left nearly a third of it's community out of work -- MASS MoCA is perhaps uniquely positioned to present this timely show... [Yes! YES!]

And as if all that wasn't enough:

In conjunction with The Workers MASS MoCA curator Susan Cross has invited Bureau for Open Culture -- a nomadic contemporary arts program directed by curator and art historian James Voorhies -- to inhabit one of the museum's buildings for the first four months of the exhibition. Set within a previously unused industrial building on the grounds of MASS MoCA, Bureau for Open Culture presents I Am Searching for Field Character, an exhibition series of public conversations, performances, installations, and workshops with a slew of visiting artists, writers, designers, and thinkers, a well as a beer garden which operates every Thursday and Friday night between May 26 and September 30.

Let me get this straight: CONTEMPORARY ART AND LABOR, HISTORIC INDUSTRIAL SPACES, NOMADIC ARTS PROGRAMS, SUPER-RELEVANCE, AND A...BEER GARDEN??? And then there's the BOC project publication: Bureau for Open Culture: On Symptoms of Cultural Industry. [Preview: WHY is it we are so moved by decaying environments? What propels the creative and cultural, the spontaneous and unpredictable in response to the dilapidation, vacancy, poverty and hardship of crumbling capital? Oh. My.]

I could not possibly make up anything dreamier. Ok, so I'll try not to get too excited before I've experienced it all.

No, I think I'll just got with it.

WHEEEEEEEEEEEEEEEEEEEEEEEEEEE!

Un-Industrial

So yesterday I saw Jon Brooks: A Collaboration with Nature at the Currier Museum. Highly recommended...but it closed today. Psych!

It's ok, he has a great website where you can see a lot more of his work, and his unbelievable house!

But this is not (really) just another excuse to blog about art. His pieces range from functional furniture to whimsical new furniture(esque) forms. They interpret natural wood forms and furniture conventions to create something new, organic, and artistic. It struck me while I was in the exhibition that I was seeing, among many things, an antithesis of industrial processes and aesthetics.

It's art, so maybe that's not super surprising; but it's not just that this is handmade furniture, it's that it moves beyond deep conventions, it totally reimagines something -- furniture -- that we're used to seeing in factory-made and/or highly stylized form.

Industrially made utilitarian objects -- like, 99% of the stuff a lot of us interact with -- are standardized, designed to reflect convention, divorced from natural forms and properties, mass-produced. It's a pretty basic observation, but the contrast made an impression and led me to look again at the industrial 99%.

So, taking it one step forward: seeing things in a provocative new way? Bring it to more (industrial) history museums! How rad would it be to see Brooks' stuff in, like, the Grand Rapids Public Museum's Furniture City exhibit (Grand Rapids -- "the first center of mass-produced furniture in North America!") ? Or -- omg -- a historic house.

Compare Jon Brooks' Citron Altar...

Citron Altar, 2007. Jon Brooks.

...With, say, this:

One of my favs from the exhibition:

Tons more on Flikr!

Exhibit: Vertical Urban Factory

A new exhibit at the Skyscraper Museum in NYC takes a unique, relevant approach to industrial history with Vertical Urban Factory:


Vertical Urban Factory features the innovative architectural design, structural engineering, and processing methods of significant factory buildings from the turn of the 20th century to the present. Now, over a century after the first large factories began to dominate our cities, the exhibition poses the question: Can factories present sustainable solutions for future self-sufficient cities?


An interesting reminder that factories were once fundamental to the pre-sprawl urban experience, and a potentially powerful platform for considering current realities and future possibilities.


 New York Times review here.