Word: cb
(lookup in dictionary)
(lookup stats)
Dates: during 2000-2009
Sort By: most recent first
(reverse)
...CB: Over the years there have been from time to time artists' centers. Back in the early '70s there was a huge building across from South Station that was filled with artists, and now Fort Point, which is getting dislodged. It's the same old story: artists move into these spaces, and then there's development...
...CB: For a while--in the 1940s and '50s--Boston was associated with expressionism. St. Louis has great expressionist holdings. That in fact was associated with the man who left [St. Louis] and became the director of the MFA. He brought that particular interest with him to the Boston area, and it coincided with interests at the School of the Museum of Fine Arts. People like Max Beckmann had shows then, and Kokoschka. So at the Museum School in the late '40s and 1950s there was a strong identification of Boston with that expressionist tradition. But I think after this...
...CB: From my background, I guess I grew up with a traditional notion of what they called "teaching-related exhibitions." Places like Ivy League schools think of the university art museum as a laboratory for students studying the history of art. When I started at the Rose back in the mid-1970s I was kind of naturally inclined to provide some exposure for Boston-area artists, to broaden support. For years I felt guilty that I didn't do any so-called "teaching-related exhibitions." I guess my approach was that you put up some reasonably good works and that...
...CB: I wrote the catalog up here [in Franconia, N.H., where Belz and his wife moved last year] and had to rely on memory for what the pieces looked like. I thought initially that maybe I could get in 100, sort of salon style, but then felt that wouldn't do as much justice to the individual artists as I wanted, so I had to start picking and choosing. As it became time to install the show I was anxious, wondering how they would hold up as they were all together. When I got to the Rose all the pieces...
...CB: Those structures or those approaches that frame you when you're learning--it amazes me how deep they run. It was a while before I began to realize how formative they are. I often had to battle those biases that had shaped my own thinking with modernism as a business. I continued to cling to some of them while being responsive to other kinds of things and I guess, to some extent, clinging is evidenced by my ongoing conviction that modernism ain't necessarily dead and that I get frustrated sometimes with writers who want blithely to say, "with...