Word: exhibitions
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...There is nothing that men do that is not done by women now in Boston.” The Museum of Fine Arts (MFA) in Boston took this quotation as a cue to laud the woman artist of the late nineteenth and early twentieth centuries. In its most recent exhibit, “A Studio of Her Own: Women Artists in Boston 1870-1940,” the MFA draws from its own collections, as well as private collections to show the Boston public that female artists of this period were a force with whom to be reckoned...
...pieces of leather) of Celia Thaxter’s An Island Garden. In addition, the Phillips Brooks Memorial Window, an enormous stained glass work honoring the Phillips Brooks House Association namesake, blocks part of the exit to this room. The introductory text panels at the beginning of the exhibit offers a brief explanation of the disparate items in this room, but fails to establish a sense of continuity and thematic coherance within the exhibit as a whole...
...placed on the differences among the artists’ media and the varied works of these women. With so much emphasis on these differences, more should have been done to continually remind the viewers of the similarities of these works. While the text panels accompanying and introducing the exhibition explain that “[a]dditional biographical information about each artist can be found in the catalogue, located in the gallery’s reading area [located near the exit of the gallery],” increasing and interspersing the biographical information within the galleries would have had the beneficial...
...acknowledging the flaws with “A Studio of Her Own,” however, one must not overlook the strong aspects of the exhibit. The small size of the exhibit also creates an intimacy not found in some of the larger exhibits that the MFA has recently housed. Likewise, gallery traffic is decidedly slower than usual, so that visitors to “A Studio of Her Own” do not have to jockey for position to see every painting...
With “A Studio of Her Own,” the MFA is doing its best to ensure that the Spice Girls-coined phrase of “Girl Power!” lingers in the minds of those who visit its exhibit. The small space and disjointed nature of the exhibit hinder such an enthusastic endorsement, and suggest that the MFA should perhaps invest more time and money into such projects. Nonetheless, the individual works of these women artists, independent of the exhibit, continue to shine...