To further highlight and promote Georgia’s artistic talent several of the more than 100 exhibitions held between 2002 and 2012 and private collections as well as local arts foundations which had been supporting Georgia artists and collecting artwork Some of these exhibitions included Selected Work from the Georgia State Art Collection; Focus: Corporate Collections; Dark Roots: The Atlanta University and Atlanta Life Insurance Company Annuals; and Forward Arts recognizing the Forward Arts Foundation’s Emerging Artist Award Program Several of these exhibitions were held at Sun Trust plaza which served as a satellite gallery for the Museum between 2005 and 2007 This year’s must-see shows range from a Nordic Pavilion exploring transgender spaces to a compelling Lebanese project confronting the realities of ecocide Frieze returns to The Shed in May with more than 65 of the world’s leading contemporary art galleries and the acclaimed Focus section led by Lumi Tan The new $75,000 fund from the MAC3 collective bought the two works for the three LA institutions’ joint collection  the MAC3 collective of Los Angeles institutions has purchased two new works by LA-based artists at Frieze Los Angeles 2025: Skinning the Mirror (Summer 1) by Edgar Arceneaux (presented by Dreamsong) and Slowly Surely by Shaniqwa Jarvis (presented by Sow & Tailor) Newly instituted at Frieze Los Angeles 2025, the MAC3 acquisition fund follows in the wake of collector Jarl Mohn’s landmark 2024 donation of more than 350 artworks – most them from his personal collection – to three Los Angeles institutions: the Hammer Museum LACMA and MOCA. The partnership celebrates the collaboration between three of the city’s leading museums and highlights their ongoing investment in fostering local LA talent and amplifying their voices on an international stage.  With a dedicated fund of $75,000 donated by Jarl and Pamela Mohn and Frieze the MAC3 institutions jointly acquire work(s) that reflect Los Angeles’s creative energy and dynamism ensuring these pieces become part of the city’s cultural legacy Los Angeles-based artist Edgar Arceneaux paints transferring their reflective silver nitrate on to canvas Skinning the Mirror (Summer 1) is one of two monumental works Arceneaux completed during a stay at the Walker Art Center in Minnesota. Deeply personal and rich with metaphoric meaning Arceneaux’s paintings materially reflect the fragmentary nature of self-understanding and the fissures within socio-historical narratives LA’s Shaniqwa Jarvis is known for mixed-media works and photography that invoke themes of memory Her work often explores reflection – examining identity and perception through an intergenerational lens C-prints (often double-exposures) and deconstructed archival images Jarvis constructs layered compositions that mirror the tension between visibility and introspection Limited full-price tickets available; 10 percent of the value of all newly purchased tickets is being donated to the fire relief efforts.  BUY TICKETS To keep up to date on all the latest news from Frieze, sign up to the newsletter at frieze.com, and follow @friezeofficial on Instagram and Frieze Official on Facebook.  Frieze Los Angeles is supported by global lead partner Deutsche Bank continuing its legacy of celebrating artistic excellence on an international scale Participants describe a ‘much-needed boost’ to the LA community and a vital moment for the international art world The Los Angeles filmmaker was awarded for her work Grief Cannot Exist Without Joy Christopher Guerrero won the Audience Award The K-pop star and actor chooses a dramatic painting by Janaina Tschäpe and a deeply meditative piece by Park Seo-Bo The annual acquisition fund is awarded to an LA-based artist at the fair selected by a jury including Jay Ezra Nayssan The fair opens at Santa Monica Airport with immersive solo shows community initiatives and artists’ projects founder and director of Art Made Between Opposite Sides explains its show of  ‘Coquestas Frutas’ (Sexy Fruit) created by LGBTQ migrants waiting across the Mexican border people and memories in her mobile installation Nomad © FRIEZE 2025 Cookie Settings | Do Not Sell My Personal Information During an Arts and Culture Committee meeting earlier this month the City of Houston explained that it is not currently planning on rehiring the Mayor’s Office of Cultural Affairs (MOCA) Director Ms. Irvin stepped into the role in 2021 and departed the organization a few weeks ago. During the April 9 City Council Arts and Culture Committee meeting Councilmember and Vice Chair of the committee Mario Castillo asked about the City’s intention of rehiring the MOCA Director position indicated that there is no plan to fill the vacancy City of Houston’s Deputy Chief of Staff noting that the action was taken because there was excess money not being spent When asked about the City’s long-term plans specifically if MOCA will continue as an office in the future David said he did not know what that might look like moving forward He was clear to state the Mayor’s support of the arts “What we weren’t seeing was the blend between MoCA and the HAA contract The work wasn’t getting done for some reason We are currently in fact-finding mode.” He noted that the City is working to assess the situation HAA does have direct oversight from the Mayor’s administration Taylor Jackson shared that the organization has promoted Shareef Rabie from Senior Grants Manager to Senior Data Analytics Manager In this new role he will assess the impact of the arts on Houston’s economy the City’s ordinance allows for no less than 1.75 percent to be spent on art acquisition or conservation David noted that the City’s attorney has reviewed this concern and advised that the City’s ordinance is not inconsistent with state law Please continue to keep us informed about changes to HAA/MOCA and website in this browser for the next time I comment Δdocument.getElementById( "ak_js_1" ).setAttribute( "value" HAA Cultural Events Calendar — City leaders moved to issue a formal request for ideas to utilize the old Museum of Contemporary Art building on Tuesday In 2023, the museum announced it would be relocating to Virginia Wesleyan University MOCA’s lease with the city for the Parks Avenue property ends April 30 The museum’s new building is currently under construction and is scheduled to open next year Watch related coverage: City council approves Pleasure House Point mitigation bank ordinance The deputy director of economic development discussed options for the old building with the city council Councilmembers agreed the next tenant should be similar to a museum “This is a special piece of property in Virginia Beach and I think if we try to do anything other than something similar to its current use we’d be run out of town,” said Stacy Cummings The city is also studying the option of using MOCA’s parking lots as stormwater retention ponds and reclaiming a tidal channel that runs through the property two nonprofit organizations have proposed uses for the old building: a naval museum and a performing arts theater The Museum of Contemporary Art Toronto (MOCA) just reopened for the Spring 2025 season with a slate of thought-provoking installations across painting You can catch new exhibitions and projects by Jessica Stockholder and the highly anticipated return of Alex Da Corte’s surreal exhibition, Ear Worm Alongside the exhibitions, you can check out a full lineup of events and programming The season is loaded with artist talks Internationally acclaimed artist Jessica Stockholder returns with her first major Canadian commission in 25 years, taking over Floor 1 at MOCA Toronto site-specific installation that explores the interplay of material transforming the floor into an immersive experience This work is one you'll really want to stop and observe as it's designed for gradual exploration, continuously revealing new elements In Blur, Toronto-based textile artist Justin Ming Yong transforms both the museum’s North End Gallery on Floor 1 and MOCA's elevators into unique art spaces using handmade quilts Inspired by traditional quilting techniques passed down from his mother, Yong’s work blends patterns and textures to create something that feels both rooted in centuries-old cultural traditions yet contemporary On Floor 3 of the museum, Toronto interdisciplinary artist Margaux Williamson presents a series of paintings that bridge elements of still life and surrealism and cars includes a selection of recent and newly commissioned paintings that highlights the evolution of Williamson's practice The work reflects the museum’s tones and architecture while centering her subtle yet evocative use of shadow and light Alex Da Corte’s acclaimed exhibition Ear Worm on Floor 2 has been described as a “surreal… tender… bewildering” experience With Ear Worm, Da Corte reimagines his 2018 film Rubber Pencil Devil projected across several large-scale cubes This immersive work appears alongside The Mouse Museum (Van Gogh Ear) a newly realized work and intimate experience that invites viewers into Da Corte’s wildly creative mind.  The North Adams City Council Finance Committee on Monday recommended approval of the sale of the former Sullivan School property to Mass MoCA The City Council will vote on the matter Tuesday Mass MoCA want to transform the former Sullivan School into a housing The North Adams City Council will vote Tuesday on the sale of the property to the museum for $50,000 The city has been trying to figure out what to do with the defunct Sullivan School since it closed in 2016 Mayor Jennifer Macksey called the defunct school an “albatross,” noting the city is still paying insurance on the property The recommendation sets up a final City Council vote Tuesday on the purchase and sale agreement between the city and the museum NORTH ADAMS — The city is poised to sell the former Sullivan School to the Massachusetts Museum of Contemporary Art — if the City Council approves of the deal The council’s Finance Committee on Monday voted to recommend that the council sign off on the plan in which the museum would pay the city $50,000 and then invest an estimated $14.5 million into the property at 151 Kemp Ave The City Council is set to take a final vote on the sale at its meeting Tuesday the council voted to send the matter to committee for further examination.   The city has been trying to figure out what to do with the defunct school since it closed in 2016 A series of previous requests for proposals did not land a buyer and twice the council has rejected proposals for the property Mayor Jennifer Macksey called the school an “albatross” for the city and noted the city is still paying insurance on the property Mass MoCA has a plan to transform the school property into a housing The redeveloped property would include lofts and apartments modular housing and community green spaces the museum's director of public initiatives and real estate, said there will be 10 single family-homes on the property and around 20 modular units though what exactly the latter will look like is not yet clear councilor and committee member Lisa Blackmer was skeptical of the sale “I would’ve liked to have seen more housing options,” said Blackmer who also took issue with the lack of details available about the plan “It’s hard to vote for something I can’t see.”  is that site evaluation and other preparation can’t be completed until the council approves the purchase and sale agreement Councilors and residents in attendance Monday wondered what kind of impact this project will have on the city’s tax rolls While Macksey said only the residential parts of the property will be taxed the exact tax impact isn’t yet known because assessors won’t get in there until Mass MoCA goes through with the project Even if the council approves the agreement on Tuesday doing so does not guarantee construction is going to start; just that the museum can begin building out its plan Once Mass MoCA completes its site evaluation “then there will be a full review of planning and zoning and conservation “This is still a conceptual plan until we get through the due diligence of what the site can really handle.” Sten Spinella can be reached at sspinella@berkshireeagle.com or 860-853-0085 as the museum must prepare the property for development and go through a permitting process Two brick Victorian mansions that were condemned in 2017 now belong to the city Sadie Jean Sworzen is not your average toddler Two new billboards from local nonprofit Hoosic River Revival seek public input on the flood chute modification effort and HRR announces it has brought on an outside engineering firm to help parse the U.S Savoy has postponed its annual town meeting from May 8 until sometime in June as the town's finances are not yet in order The annual town election will still be held on May 14 the state Department of Conservation and Recreation could soon expand its Savoy Mountain State Forest reach into Adams Seeking his sixth term on the Select Board incumbent Joe Nowak is being challenged by Jay Meczywor and Jerome Socolof Your browser is out of date and potentially vulnerable to security risks.We recommend switching to one of the following browsers: Get up-to-the-minute news sent straight to your device SEARCHThe global authority in superyachting Moca was built in steel and aluminium by Italian yard Benetti to ABS class with delivery in 2016 she is listed for sale in "pristine" condition following a major refit in 2024 A previous multimillion-dollar refit was also completed in 2021 The main saloon is classic in style, blending the original fitted joinery – in perfect condition – with modern sofas and a centrepiece glass and bronze coffee table. Traditional lighting works well with newly installed soft LED overhead fittings while large windows allow natural light to filter through. Forward is a formal dining room with an extendable walnut table comfortably seating eight guests. The main aft deck offers an al fresco dining and relaxation area with a large table for 10 guests and comfortable seating. Access to the voluminous sun deck - designed as a children's playroom for fun and relaxation - is directly through the bridge and there is a full helm station. Powered by twin MTU 1,029hp diesel engines, Moca is capable of a top speed of 16 knots and comfortably cruises at 12 knots. Moca is now asking $42,000,000, currently lying in Sint Maarten. Latest news, brokerage headlines and yacht exclusives, every weekday SubscribeSign up to our newslettersSign up to BOAT International email newsletters to get the latest superyacht news Boat International Media Ltd © 2008 - 2025 Content presented under the "BOAT Presents" logo is an advertising feature and Boat International Limited has been paid to include this content This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page The Museum of Contemporary Art Westport at 19 Newtown Turnpike Westport has been an artistic enclave for decades- with some of the World’s best photographers, painters, writers, and thinkers all calling the community “home”. The tradition of training artists for the future has a history just as long, and with the Museum of Contemporary Art Westport - the future of Great Art in Westport is bright Art with recycled materials by students from The Academy at MoCA Westport’s tradition of inspiring others to make “Great Art” began in 1948 when members of the New York Society of Illustrators founded the Famous Artists School on Wilton Road - with “famous artists” such as Albert Dorne and Westport’s Stevan Dohanos being three of the nearly one dozen artists who began teaching the community’s next artists The school’s premise was simple for students: subscribe to their program and then send your illustrations back to be graded by the “Famous Artists” The school was successful until their bankruptcy in 1972 A gallery space at MoCA including mixed media art pieces The Westport Arts Center served Westport after the closing of the Famous Artists School bringing art creation and galleries to locals while continuing to develop in the ever changing artistic community After displaying and creating art in their first building on Post Road East the center moved to it’s space on Riverside Avenue The gallery hosted local and visiting artists with well attended local events and shows but was limited to a small display space and difficult parking MoCA Westport - the town’s new state-of-the-art contemporary art museum and creaton space - solved those limitations and continued its contributions to Westport’s arts scene with updates and more community involvement The 2019 expansion project took over the former Martha Stewart television studios at 19 Newtown Turnpike turning them into a new art destination for both locals and visitors The World Peace exhibit included works by photojournalist Spencer Platt is steeped in history - however walking through the glass entry doors into the lobby keeps visitors firmly planted in 2021 as their interior design and curated exhibits rival even some of the Manhattan greats Executive Director and Westporter Ruth Mannes began her position and journey with the non-profit museum in February of 2020 just one month before the pandemic would change how museums operated worldwide an art collector and a well respected figure in the business sector strives to create a museum that involves the community and educates the future through “great art” people gravitate to institutions that exhibit great art I see MoCA Westport being one of these exceptional places.” The museum focuses on a variety of artists and mediums with different shows throughout the year including group shows planned for each Fall The expansive gallery space at MoCA, taken during their World Peace exhibit, included these former billboards Class Action Collective and the divided and fractured political climate of America’s past and present” and included photography works on paper and protest art from local and world-renowned artists Curated by Director of Exhibitions Liz Leggett independent curator and director of von ammon co. - the team took use of the modern space by creating a wide range of art experiences and allowed viewers to traverse the museum spaces while finding art as they went in its many forms Bright Future, featured in Hindsight is 2020 The museum’s next exhibit, Hindsight is 2020 opens tomorrow and will run through March 13th Hindsight is 2020 includes nearly 200 pieces of work from high schoolers in the New York & Connecticut area with cash prizes awarded by jurors Paul Efstathiou Director of Contemporary Art at Hollis Taggart Gallery; Amy Kaplan a Westport-based artist and RTM member; and Tessa Moore Vice President of MoCA Westport’s 2020-2021 Teen Council and a Staples High School junior The future remains bright for those wishing to not only enjoy art but take part in the process of creating it - as The Academy welcomes children and adults to classes taught by accredited and acclaimed teachers Under the direction of former NYC schools assistant principal and MoCA Director of Education Anne Greenberg lessons and courses are offered for all ages and include painting MoCA’s newly designed cafe and museum store space awaits social gatherings MoCA rose to the occasion to offer a safe option for K-8 learning pods in their own section of the Newtown Turnpike compound as well as reservation-only gallery viewings Mannes described the building’s brand new HVAC system and extensive renovations as an unknown blessing not knowing the updates would be so welcome and vital to keeping the students future plans include more community programming as well as a robust cafe space with a small bar area serving alcohol for events and guests A custom made piece for the World Peace exhibit and a broader community outlook - the Museum of Contemporary Art MoCA Westport - has remained creative in programming and a pioneer in displaying Visit their website to learn more about their new exhibit, or contact The Academy at MoCA for information on signing up for classes or courses Hindsight is 2020 begins tomorrow or categories - like “COVID-19,” “Sunset,” “Schools,” or “Obituaries” Register your email to receive important Westport Local Press updates Thank you for supporting The Westport Local Press Your email has been added to our Breaking News list Reproduction of material from westportlocalpress.com without written permission is strictly prohibited Print In the late 1960s and early ‘70s Photorealist painters used photographs as their subject “Ordinary People,” explores the underappreciated quality of the work as well as its legacy.The show includes potent new works including Cynthia Daignault’s provocative “Twenty-Six Seconds,” a monumental meditation of the famous Zapruder film of JFK’s murder Photorealism has always been confusing A genre of mostly paintings whose subject matter is photographs and whose prevailing style is precise illusionism began to emerge in the late 1960s The 20th century had seen pure abstraction claimed as visual art’s pinnacle Paintings dependent on photography’s figurative images faced a steep climb The insecure bafflement over Photorealism was reflected in a sudden ‘70s glut of competing terms — Superrealism Add the contemporaneous arrival of a lively market for contemporary art which had barely existed earlier in 20th century America and all those rival brand names could seem like desperate promotional efforts to crack the market with comfortably retrograde “Ordinary People — Photorealism and the Work of Art Since 1968” is one attempt to refocus the subject despite a couple of strange omissions and some odd inclusions A few of its artists have always been embraced for conceptual rigor — most prominently Vija Celmins, whose images copy photographs of deserts and seascapes, as well as book and magazine pictures; and the late Chuck Close whose giant paintings enlarge photographs of portrait heads drugstore facades or gumball machines — were dismissed as frivolous Choosing to make a detailed painting of a photograph itself created an abstraction — if “abstract” is defined as the quality of dealing with an idea Maybe photography’s then long-standing status as a lesser art was part of the reason why “Ordinary People — Photorealism and the Work of Art Since 1968” highlights two aspects both keyed to its somewhat cumbersome title the field is enlarged to include top-notch artists in subsequent generations whose work reflects an ongoing Photorealist legacy an often ignored quality of the work is given a serious look “Leonardo’s Lady,” 1974; oil and synthetic polymer on canvas (Kate Keller / Audrey Flack Marcus Estate) That largely disregarded element is the simple fact that Photorealist art is labor intensive MOCA curator Anna Katz and curatorial assistant Paula Kroll emphasize the work in a work of art Work applies to the production of any significant art even when the material is an object found in a dumpster or a set of instructions typed on a sheet of paper We’re not talking about coal mining or Amazon home delivery here Celmins’ 1968 drawings of old black-and-white photographs torn from history books — a 1930s zeppelin airship Hiroshima’s nearly obliterated 1945 landscape — begin with a sheet of paper prepared with a ground of snow-white acrylic The surface is made receptive to the delicate movements of soft graphite across the page Careful pencil marks are placed on an aesthetic pedestal while the speed of a camera’s shutter-click in shooting the source material is slowed to the crawl of a careful drawing The result is a palpably concentrated, disarming sense of focus. Your eye responds to the artist’s subtle touch. Suddenly, it occurs that the chosen scenes favor things that cannot themselves be touched — aerial flight high overhead, out of reach, or deadly radioactive space left by an exploded nuclear bomb and an unexpected moral grandeur blankets images lavished with such care Half a century later comes Cynthia Daignault’s provocative “Twenty-Six Seconds,” a MOCA commission for the show from the Baltimore artist Its subject is the famous 1963 Abraham Zapruder film which recorded the Dallas murder of President Kennedy Daignault painted each of the film’s 486 frames on separate 8-by-10-inch canvases — the size of a standard still photo — and installed them in a grid (Christopher Knight / Los Angeles Times) The paint handling is loose Each form or shadow is constructed from a brushstroke introducing the artist’s hand into the cold machinery of camera work The moments before the fatal shooting fill the grid’s upper half while the tragic denouement unfolds at a viewer’s vulnerable eye-level seven rows up from the bottom and 16 frames to the right where a burst of vertical light interrupts the horizontal flow of the terrible pictorial narrative Daignault’s canvases become increasingly abstract finally dissolving into blurred daubs of color against black fields As a meticulous representation of the inexplicable which clings to arguably the most censored and conspiracy-riddled major episode of modern American history “Twenty-Six Seconds” is both remarkable and moving Detail of Cynthia Daignault’s paintings of all 486 frames of Abraham Zapruder’s 26-second film of JFK’s murder in Dallas (Christopher Knight / Los Angeles Times) Needless to say Daignault’s “Twenty-Six Seconds” took far longer to make than Zapruder’s reasonably speculates that the visible labor involved in Photorealist art is one reason first-generation examples weren’t well received making the contentious history of avant-garde art a highly specialized field a general public could embrace the Photorealist genre — partly because the images were recognizable but equally because the detailed precision represented hard work “My child could do that” is the cliched (and erroneous) refrain of the uninformed viewer of Modern art The art world was dismissing the popular reception of Photorealism with a similarly narrow-minded explanation: Ordinary people Katz suggests that the artists’ apparent desire for a popular hug alienated a cloistered art public the curators underscore something few are willing to acknowledge: As a technical matter almost anyone can learn to draw and paint realistically your child could probably get the hang of it too Photorealist competence is just a matter of — well To demonstrate, Close’s meticulously detailed head of mustachioed “Robert,” 9 feet tall an enlarged and subdivided black-and-white photograph overlaid with a tight grid Close just had to replicate the tiny squares of darks and lights on his canvas Getty and LACMA exhibitions give different answers Almost half of the 44 artists in “Ordinary People” are first-generation born in the tumultuous period between the Roaring ’20s’ collapse into the Great Depression and the end of World War II They matured during decades when camera images from broadsheets and tabloids to television and CinemaScope the fact that camera images themselves would become a subject seems inevitable the genre’s earliest noted practitioners were almost exclusively white males including a shrewdly chosen Gran Torino station wagon whose wood paneling modernizes the Conestogas of manifest destiny; Richard Estes and Ralph Goings recorders of urban and suburban shops and diners; and Richard McLean whose leisure-rodeo cowboys and cowgirls are cosplay hobbyists Jesse Treviño’s 1974 storefront painting and John Ahearn and Rigoberto Torres’ 1981 jump-rope wall-relief picture photos (Christopher Knight / Los Angeles Times) Among the superlative examples since the ‘80s are wall-size works by the team of John Ahearn and Rigoberto Torres whose sculptural reliefs of kids at play transform the mural tradition Judie Bamber’s small drawings and watercolors of her father’s intimate photographs of her mother bring hidden familial dynamics into anxious view Takako Yamaguchi’s exploded close-ups of women’s clothing — trench coat crochet top — morph into strangely geometric abstractions Exquisite pastel portraits of Latino friends and neighbors by John Valadez; an altar-like assembly of 46 panels by Ben Sakoguchi tracking the cold-eyed evolution of nuclear terrorism; a Kehinde Wiley promotional portrait of hip-hop aristocracy — the range is wide Feminist sexual politics unfold in takes on commercial erotica by Marilyn Minter Joan Semmel and Betty Tompkins; a wry and confrontational boudoir still life by Audrey Flack like an overhauled ad from Glamour magazine; and Andrea Bowers’ surveillance-style paean to socially engaged working women Marilyn Levine was an exceptional ceramicist who built detailed useful objects — shoes handbags) — from useless slabs of fired clay But her beguiling illusion of soft leather rendered as hard sculpture doesn’t betray any photographic subject matter An obvious list would include Robert Cottingham’s signature landscapes of elaborate neon signage and Malcolm Morley’s souvenir postcards of cruise ships and recruiting posters of naval destroyers Perhaps most unexpected is the absence of Charles Bell’s monumental toys and candy machines as well as Richard Artschwager’s acute architectural constructions painted on Celotex board a building material that serves as an ironic ground for precision pictures of offices being demolished or off-kilter tract homes MOCA, in its permanent collection, has terrific — and pertinent — photo-based examples by Morley and Artschwager perhaps to make room for new works like Alfonso Gonzalez Jr.’s big “Pawn Shop,” a wall-size compendium of commercial advertisements mixing poignancy with desperation and Sayre Gomez’s haunted street-side shrine to an anonymous urban death Glowing below background signs for a liquor store a laundromat and an Echo Park burger joint Gomez shrewdly identifies the specific street through a blazing sunset The coming veil of darkness is announced with a jab of 2024 topicality “Ordinary People” neatly puts to rest any lingering skittishness about Photorealist validity 'Ordinary People — Photorealism and the Work of Art Since 1968' Where: Museum of Contemporary Art, 250 S. Grand Ave., L.A.When: Tuesdays-Sundays, through May 4Admission: FreeInfo: (213) 633-5351, moca.org Travel & Experiences World & Nation Lifestyle Hollywood Inc. Music Television Subscribe for unlimited accessSite Map A sign reading “Americanitis” in neon-script on a red background - with round white marquee lightbulbs as a border, is drawing patrons to one end of Building 6 at MASS MoCA in North Adams This particular space at the contemporary art museum which opened in 1999 and added this building in 2017 is called “The Prow” - and this is the first time it’s held an interactive exhibition Alison Pebworth’s Cultural Apothecary opened at the end of February in and features a tea service and several invitations to reflect on how you are feeling through emotion identification and surveys Pebworth’s work aims to inspire viewers to participate in reflective conversation about society and humanity She’s spent her residency time with MASS MoCA very often in North Adams proper hoping to encourage engagement in the community by modeling it Kristy Edmunds is the Director of MASS MoCA The installation is commissioned as part of Edmund's visiting artist Director Initiatives with curatorial support from Evan Garza and Alexandra Foradas Be one of the first to know what's coming up on WAMC See additional subscription options Last night in Hollywood, we were joined by MOCA and GUESS JEANS at Living Room Private Club to celebrate the ‘Moca Focus’ exhibition series and kick off Frieze Week LA Guests received laser-engraved denim tote bags customized with Shadowplay issue cover artist Ana Segovia artworks and danced to DJ sets by Bec Adams, smilegoth, touching ice, LO.TS, and Bradley Hayes. Photographed by Cody Marquez at BFA Stay up-to-date with exclusive events and content SAN FRANCISCO and BOSTON, Jan. 14, 2025 /PRNewswire/ -- Doxel, an industry leader in AI-driven construction progress tracking, and MOCA Systems, Inc. (MSI), the provider of the leading production planning platform, Touchplan, are excited to announce a new partnership This collaboration marks a significant step forward in Lean Construction merging Doxel's cutting-edge progress tracking technology with Touchplan's proven production planning capabilities to enable an optimized construction workflow that bridges the gap between planning and execution With construction project costs rising and schedules shrinking forward-thinking owners and contractors alike look to advanced technologies to help ensure on-time But they struggle to effectively integrate diverse individual technologies into their project workflows Doxel and Touchplan working together offer a powerful solution that helps construction teams achieve project deadlines with greater predictability The Touchplan Lean planning platform enables easy accurate sequencing and scheduling of all construction workflow tasks enhancing trade coordination and eliminating waste on the jobsite while Doxel's progress tracking solutions provide real-time feedback on actual project progress it will provide excellent confirmation that what we have done is what we said we were going to do," said Adam Nelson "It also allows us to look forward in the progress charts and ensure our forecasts for activities align." Key Benefits of Using Doxel and Touchplan Together "Strong planning meets strong execution when Touchplan and Doxel are used together," said Saurabh Ladha "This collaboration embodies Lean Construction values creating a dynamic real-time feedback loop between planning and on-site execution "Customers using Doxel's AI progress tracking and Touchplan's planning platform gain a powerful advantage in Lean Construction combined with Doxel's visual tracking and predictive analytics help teams proactively manage workflows and stay on track the combined use of Touchplan and Doxel enhances transparency and the quality of the final deliverable," said Brett Adamczyk The partnership between MSI and Doxel marks a transformative step in the tech-laggard construction industry bringing a new ability to bridge the historic gap between planning and execution By combining Touchplan's digital Lean planning with Doxel's AI-driven progress tracking and real-time insights needed to achieve exceptional results and ensure project success For more information, visit https://touchplan.io/doxel-partnership/ Media Contact:Julie BlackleyMarketing Communications ManagerMOCA Systems, Inc.[email protected]  About DoxelDoxel provides automated progress tracking to speed up construction across the portfolio and apply learnings captured during construction to future projects optimizing schedules before construction even begins Doxel proactively identifies construction risks and provides recommendations that speed up project delivery by an average of 11% (MSI) has announced important enhancements to Touchplan the leading digital production planning platform a premier provider of services and software for large Computer & Electronics Construction & Building Computer Software Computer Software Do not sell or share my personal information: Mass MoCA will be buying and investing in the former Sullivan School at 151 Kemp Ave This view is from behind the school on Summit Avenue The city has already decided to award the sale of the former Sullivan School property to Mass MoCA but lawyers from both parties are currently negotiating and working out the details but Mass MoCA could soon be turning the Sullivan School property into housing NORTH ADAMS — The Massachusetts Museum of Contemporary Art may have the answer to the yearslong question of what to do with the vacant Sullivan School the museum pitched the city of North Adams a plan to transform the school property into a housing and would then invest an estimated $14.5 million in the property The city has already decided to award the sale to Mass MoCA, but lawyers from both parties are currently negotiating and working out the details The deal could become final in a matter of weeks as Mayor Jennifer Macksey said it would be complete “in the very near future.” “It’s become quite a liability and arbitrage for us with the break-ins so we’re very excited to move it forward to someone who’s really going to care for the facility and care for the grounds,” Macksey told The Eagle on Monday “My long-term goal is that it really helps the neighborhood with having to deal with a blighted property.” Museum Executive Director Kristy Edmunds said Monday that Mass MoCA has a keen recognition of housing concerns in North Adams “For the past 16 months I’ve been exploring what Mass MoCA could do in relation to housing,” Edmunds said we decided we had enough knowledge about what we thought we could do that we put our hat in the ring a beautiful possibility for everybody in the community and beyond.” Architectural designer Michael Murphy and development firm Creative Development Partners are teaming up with the museum on the project Murphy has lived in Massachusetts for about 15 years and in 2016 worked on the Tourists hotel redevelopment of Blackinton Mill His work focuses on “addressing community needs through adaptive reuse,” according to the proposal Creative Development Partners is run by Jeremy Liu and Jason Vargas who have “proven community building and real estate development expertise,” the proposal says.  The city has been trying to figure out what to do with the defunct school since it closed in 2016 A series of previous requests for proposals did not net a buyer The museum's estimated $14,490,000 investment would come from investor equity historic tax credits and government funding Some units for the planned housing would be short-term rentals catering to visiting artists and others while some will be condominiums owned by artists “If we get to a place where we are able to generate home ownership pathways that will add revenue through private homeownership taxation to the city,” Edmunds said Part of the property would be used for modular housing The museum’s proposal says the project would revitalize a vacant property property management and arts programming jobs improving property values and creating stronger neighborhood connections Programming could include an arts residency summer music intensives where musicians come together to rehearse and a community “living room” boasting culinary workshops the museum cited a survey of 158 artists in the area conducted by its its Assets for Artists program The survey found many respondents had issues finding housing and creative space and cited an overall lack of public spaces The proposal anticipates that exterior improvements to the site could happen within a few months of the property changing hands Site research could take between six and nine months The property isn’t currently zoned for the museum's intended uses “Mass MoCA’s investment in the Sullivan School presents a unique opportunity to create a dynamic space that not only fulfills critical needs highlighted in Vision 2030,” the proposal reads “but also uplifts the cultural and economic vibrancy of North Adams.” Quality local journalism needs your support Access this story and all of our stories with 24/7 unlimited access Subscribe now for 99¢ Subscriber Sign In | Return Home Sten Spinella can be reached at sspinella@berkshireeagle.com or 860-853-0085. The recommendation sets up a final City Council vote Tuesday on the purchase and sale agreement between the city and the museum. The sale is not yet final, as the museum must prepare the property for development and go through a permitting process. Two brick Victorian mansions that were condemned in 2017 now belong to the city. Sadie Jean Sworzen is not your average toddler. She's a champion. Two new billboards from local nonprofit Hoosic River Revival seek public input on the flood chute modification effort and HRR announces it has brought on an outside engineering firm to help parse the U.S. Army Corps of Engineers feasibility study. Savoy has postponed its annual town meeting from May 8 until sometime in June, as the town's finances are not yet in order. The annual town election will still be held on May 14, said town clerk Valerie Reiner. Though the transaction isn't yet final, the state Department of Conservation and Recreation could soon expand its Savoy Mountain State Forest reach into Adams. Seeking his sixth term on the Select Board, incumbent Joe Nowak is being challenged by Jay Meczywor and Jerome Socolof. Get up-to-the-minute news sent straight to your device. VIRGINIA BEACH, Va. — WTKR News 3 got a hard hat tour of the new Virginia Museum of Contemporary Art, housed on the campus of Virginia Wesleyan University. “This location here at Virginia Wesleyan University gives us a broader reach, not just throughout Virginia Beach, but also Hampton Roads and the whole state. It kind of puts us in an epicenter," said Alison Byrne, the museum's executive director. Most people know the museum, commonly referred to as MOCA, as an Oceanfront institution. “We have a long, rich history at the Oceanfront that goes back to 1956 to the Boardwalk Art Show, which is how we originated.” But it has outgrown its beachy roots. Thanks to private donations, the new $25 million museum will open in January 2026. “It’s a natural partnership. You have the Virginia Museum of Contemporary Art and Virginia’s national liberal arts institution partnering. The winners in all this are aspiring artists and students who are interested in contemporary art,” said President of Virginia Wesleyan University Dr. Scott Miller. The museum will house one of the largest art classrooms in the region, serving as a hub for art students of all ages. “We have all kinds of educational programs that we offer year-round to residents, families, and children, including an art camp. Putting us on a campus of an educational institution really amplifies that mission,” said Byrne. And with the location being right next to Interstate 64, it will be convenient. The Virginia Museum of Contemporary Art and Virginia Wesleyan University: a match artfully made in heaven and positively Hampton Roads. 🇰🇷 한국어로 읽기 → Fragmented digital identities cause inefficiencies and missed opportunities for users and businesses. An open and user-centric infrastructure is essential to resolve this issue. Moca Network recently announced its MOCA 3.0 vision. This initiative aims to create an open digital identity infrastructure and focus on user-centric solutions. Moca Network leverages Animoca Brands ecosystem, which includes over 540+ portfolio companies, to accelerate its early growth. Its partnership with SK Planet highlights the potential to successfully scale a digital identity-based ecosystem. Dive deep into Asia's Web3 market with Tiger Research. Be among the 4,500+ pioneers who receive exclusive market insights. The fragmentation of digital identities creates lost opportunities for both users and businesses. Businesses struggle to identify high-value users, while users are not fully acknowledged for their true value. This disconnect limits value creation for both parties. This issue is evident in targeted ads within the Web2 industry. Companies use platforms like Meta to segment users and deliver promotions. However, these ads rely on limited data from each platform, which reduces the scope and accuracy of targeting. Users engage with multiple platforms, but their fragmented digital identities lead to platform-specific promotions. This disconnect prevents both businesses and users from realizing their full potential value. Web3 projects try to reward ecosystem contributors through airdrops User activities are scattered across Web2 and Web3 Relying on data from a single chain makes it difficult to identify genuine contributors The anonymity and decentralized nature of Web3 also allow users to join and leave easily The case of Starknet shows one clear example An airdrop targeted about 1.3 million wallets It failed to identify genuine contributors due to limited data This caused network activity to drop sharply Digital identity fragmentation is a structural issue affecting both Web2 and Web3 industries Each platform uses different technical specifications and data schemas to implement digital identity which makes data sharing and integration challenging and FAANG worsen the fragmentation by confining user data within their walled gardens This structural problem goes beyond missed opportunities It creates real inconvenience and distorts value Users must create new accounts on every platform and repeatedly rebuild their activity and profile Platforms capitalize on this inconvenience by monopolizing the value of accumulated data Companies like Google and Meta earn tens of billions of dollars annually through ads that rely on user data Reddit generates billions each quarter by selling user data the actual data owners—the users—are excluded from these opportunities digital identity must be reimagined as user-centric It also requires an open infrastructure that can operate seamlessly across different environments Moca Network provides a solution to these challenges Moca Network's AIR Kit (Account, Identity, Reputation) serves as a universal account system. It is chain-agnostic and works across various environments. The system is highly interoperable, enabling users to unify and manage their digital identities with ease. AIR Kit connects accounts and identities seamlessly. The ID acts as the interface between the user and the service. The account serves as the hub that links the user’s various identities and activities. For example, a MOCA ID on Mocaverse and a FOOTBALL ID on OneFootball link to the same AIR Account. These identities stay independent. With 1B+ addressable user base, Moca Network enables users to participate in multiple ecosystems with a single account. AIR Kit works as an embedded account system. It allows Web2 services to offer a seamless on-chain experience. Telegram’s TON ecosystem and Grab embedded wallets into their apps in a similar way. Services can use AIR Kit to integrate Web3 accounts into their platforms. With AIR Kit, users can create a Web3 wallet as easily as using a social login. They can perform on-chain activities without managing blockchain addresses or private keys. Features like gas payment coverage and cross-chain transactions improve the user experience further. Moca Network introduces a credential system in addition to its open and unified account system. This system goes beyond simply providing infrastructure. It empowers users to manage their own data and create value from it. Through this approach, users can overcome the limitations of traditional centralized platforms and achieve true data sovereignty. Source: Moca NetworkMoca Network supports issuing, storing, and verifying user credentials. It stores credential data securely in decentralized data storage. Users can set and manage access permissions for their credentials directly. Moca Network describes this feature as a "decentralized user-owned Google Drive." Moca Network protects data using tamper-proof technology and zero-knowledge proof (ZKP). It allows users to transfer their credentials between different systems through cross-chain messaging protocol, such as LayerZero or Wormhole. This enables users to safely interact directly with smart contracts on any chain. As a result, users can gain more value from their credentials. Moca Network also plans to adopt zkTLS technology. This will enable the secure verification and usage of Web2 data on-chain. By integrating Web2 and Web3 data, Moca Network will build a more comprehensive digital identity system. This system empowers users and bridges the gap between Web2 and Web3, ultimately aiming to create a user-centric and inclusive ecosystem. $MOCA serves as a utility and governance token at the core of the Moca Network ecosystem. Partners stake $MOCA to share the network effects of the user base and applications. They also pay fees in $MOCA to verify and generate credentials, contributing to the ecosystem's economic growth. For users, $MOCA functions as a payment method and a reward mechanism, driving engagement and participation. The ecosystem’s growth is driven by a flywheel effect centered on $MOCA. Users earn $MOCA rewards for their activities, boosting participation and increasing credential verification requests and fee payments from partners. As user activity grows, participants build stronger reputations and receive greater rewards, enhancing their purchasing power. This virtuous cycle attracts more partners, further increasing user benefits and sustaining ecosystem expansion. Source: Moca NetworkMoca Network offers several reward programs. These include Moca List, a regulated token launchpad run with Coinlist, and Moca Drop Moca Network is also working with Magic Eden to create Magic Moca users can participate in partner events and airdrops Users with larger stakes get higher priority Beyond Moca Network's current rewards program partners will create their own reward programs using Moca's infrastructure This will enable more diverse and expanded reward options This collaboration benefits all participants. AIR Kit instantly converts points, credentials, and tokens into programmable assets. Users gain more value through this process. Businesses target valuable customers more effectively using verified credentials. Platforms improve user experiences and revitalize ecosystems by offering seamless and universal benefits. Efforts to build digital identity infrastructure continue in the Web3 industry. Projects like the Proof of Attendance Protocol (POAP) and the Ethereum Attestation Service (EAS) show effective ways to verify user identity and activity. Source: Dune, Tiger ResearchHowever, both projects faced challenges in building ecosystems during the early stages. Their usage has declined over time. The issue is not just about technical maturity. Success in identity infrastructure requires creating an ecosystem supported by strong network effects. Source: Moca NetworkTo address these limitations, Moca Network strategically uses the existing ecosystem of Animoca Brands, which has a portfolio of over 540+ companies. This extensive network will help accelerate the growth of Moca Network's emerging ecosystem. Animoca’s global expansion further strengthens the possibilities for Moca Network. The company has formed a joint venture with South Korea’s CUBE Entertainment. It has also entered the Japanese market through Animoca Brands Japan and partnered with Saudi Arabia’s NEOM City. These initiatives provide a strong foundation for building a globally integrated ecosystem. Moca Network plans to introduce a new paradigm called the “reputation economy.” that does more than just verify identity. It uses credentials to measure user reputation and applies it to various services. Partners of Moca Network will create reputation scores based on Web2 and Web3 data, creating new value and opportunities for users. Source: KaitoReputation systems are expected to address challenges in the AI era as AI agents take on larger roles in social networks AI-generated content is growing on platforms like X and Discord and AI agents like aixbt increasingly influence investors Verifying AI credibility is becoming critical Moca Network is positioned to enable AI agent wallets with universal accounts and build reputations for both AI agents and users interacting with them It is also anticipated to verify digital objects Moca Network is expected to drive AI agent adoption and support the development of a fully autonomous internet Moca Network aims to build a trust-based reputation economy This approach will mark a new chapter in the digital economy Source: Moca NetworkMoca Network has advanced step by step over time MOCA 1.0 focused on building a community by minting Mocaverse NFTs MOCA 2.0 expanded the ecosystem through partnerships with Moca ID the network is working toward creating an open digital identity infrastructure Moca Network has continued to make steady progress on its roadmap It now has collaborations with major platforms like SK Planet and OneFootball to realize its potential as a digital identity infrastructure Moca Network is transitioning to a more open and decentralized ecosystem it aims to boost community engagement while actively supporting developers to create new services This shift aligns with its long-term goal of becoming a community-driven decentralized protocol like Ethereum paving the way for a truly open digital identity infrastructure As it moves forward, Moca Network’s innovations create new opportunities across industries. The Markets in Crypto-Assets Regulation (MiCA) advances on-chain credentials for regulated use cases like zkKYC and token launchpads aligning closely with Moca Network’s vision Moca Network addresses compliance needs while driving applications in DeFi As the AI era demands secure digital identities Moca Network leads innovation and strengthens its position as a key player Dive deep into Asia's Web3 market with Tiger Research Be among the 4,500+ pioneers who receive exclusive market insights Read more reports related to this research.World Network: Verifying Proof of Human in the Age of AI This report was partially funded by Moca Network It was independently produced by our researchers using credible sources and opinions are based on information available at publication time and may change without notice We disclaim liability for any losses from using this report or its contents and do not warrant its accuracy or completeness The information may differ from others' views This report is for informational purposes only and is not legal References to securities or digital assets are for illustration only This material is not intended for investors This report, by Tiger Research, examines Moca Network\u2019s MOCA 3.0 vision and its innovations in digital identity infrastructure for the open internet. \uD83C\uDDF0\uD83C\uDDF7 \uD55C\uAD6D\uC5B4\uB85C \uC77D\uAE30 \u2192 Digital identity fragmentation is a structural issue affecting both Web2 and Web3 industries. The core problem is that platforms, rather than users, control digital identity. Technical limitations also play a role. Each platform uses different technical specifications and data schemas to implement digital identity, which makes data sharing and integration challenging. Big tech companies like Alibaba, Tencent, and FAANG worsen the fragmentation by confining user data within their walled gardens. To address these problems, digital identity must be reimagined as user-centric. It also requires an open infrastructure that can operate seamlessly across different environments. Moca Network provides a solution to these challenges. Source: Moca NetworkMoca Network\u2019s new MOCA 3.0 aims to build a digital identity infrastructure for the open internet. This initiative addresses the current problem of disconnected and fragmented systems. The goal is to create a unified digital environment where digital identities work together seamlessly. Moca Network\u2019s proposed infrastructure focuses on three key characteristics. AIR Kit connects accounts and identities seamlessly. The ID acts as the interface between the user and the service. The account serves as the hub that links the user\u2019s various identities and activities. For example, a MOCA ID on Mocaverse and a FOOTBALL ID on OneFootball link to the same AIR Account. These identities stay independent. With 1B+ addressable user base, Moca Network enables users to participate in multiple ecosystems with a single account. AIR Kit works as an embedded account system. It allows Web2 services to offer a seamless on-chain experience. Telegram\u2019s TON ecosystem and Grab embedded wallets into their apps in a similar way. Services can use AIR Kit to integrate Web3 accounts into their platforms. Source: Moca NetworkMoca Network supports issuing, storing, and verifying user credentials. It stores credential data securely in decentralized data storage. Users can set and manage access permissions for their credentials directly. Moca Network describes this feature as a \\\"decentralized user-owned Google Drive.\\\" The ecosystem\u2019s growth is driven by a flywheel effect centered on $MOCA. Users earn $MOCA rewards for their activities, boosting participation and increasing credential verification requests and fee payments from partners. As user activity grows, participants build stronger reputations and receive greater rewards, enhancing their purchasing power. This virtuous cycle attracts more partners, further increasing user benefits and sustaining ecosystem expansion. Source: Moca NetworkMoca Network offers several reward programs. These include Moca List, a regulated token launchpad run with Coinlist, and Moca Drop Moca Network plans to introduce a new paradigm called the \u201Creputation economy.\u201D that does more than just verify identity. It uses credentials to measure user reputation and applies it to various services. Partners of Moca Network will create reputation scores based on Web2 and Web3 data, creating new value and opportunities for users. By extending digital identity, Moca Network aims to build a trust-based reputation economy. This approach will mark a new chapter in the digital economy. Source: Moca NetworkMoca Network has advanced step by step over time As it moves forward, Moca Network\u2019s innovations create new opportunities across industries. The Markets in Crypto-Assets Regulation (MiCA) advances on-chain credentials for regulated use cases like zkKYC and token launchpads aligning closely with Moca Network\u2019s vision Read more reports related to this research.World Network: Verifying Proof of Human in the Age of AI If the material is to be restructured and published Unauthorized use of the reports may result in legal action Ariel Qiu had a piece of art selected for the Museum of Contemporary Art exhibit “… examines the intricate balance between human activity and earth’s biodiversity and pollution have driven species toward extinction and accelerated climate change efforts to conserve and protect are gaining ground we explore the evolving relationship between humans and nature revealing both the harm caused and the resilience needed for restoration.” entitled “Goes Around Comes Around,” as exploring “… the cyclical relationship between human actions and the environment circular strokes of white and green represent the interconnected flow of cause and effect: what we take from nature The dark background signifies the damage inflicted on the Earth – pollution the vibrant greens cutting through the darkness symbolize hope: the regeneration of forests and the growing global effort to repair what has been broken The green and white forms curve back in a half-circle symbolizing regeneration and restoration—the idea that what “goes around comes around.” Just as harm spreads so too can positive actions ripple outward The artwork serves as both a warning and a symbol of hope reminding viewers that the Earth responds to our choices we can ensure that the cycle reflects renewal rather than destruction.” The exhibit is viewable at MOCA CT until March 2 Like what you see here? Click here to subscribe to We-Ha’s newsletter so you’ll always be in the know about what’s happening in West Hartford Click the blue button below to become a supporter of We-Ha.com and our efforts to continue producing quality journalism Δdocument.getElementById( "ak_js_1" ).setAttribute( "value" © 2025 • WeHa News • All Rights Reserved • Ezoic Privacy Policy - Created by Roy Web Design A group of ovarian cancer survivors call themselves the Fun Posse “It’s kind of an exclusive club But it’s not a club you join on purpose,” shared Lorrie Fox Nancy Schwerdt and her friend Jo Devich helped get this all started “We try to work around people’s schedules,” Schwerdt told us They meet at the London Road Perkins quite often but have ventured out and tried new things as well “It’s always nice to be around people they already know,” added Chris Cigalio Having a support system like the Fun Posse is so important when you’re dealing with a cancer diagnosis They welcome in newcomers like Terry Wasnick “The amount of support that I found through the group is great One lady is offering to help me with some paperwork because I’m looking to go alternative.” “I’m so amazed at the different journeys that people have had is proud to help direct people to these groups For more about MOCA: https://mnovarian.org/ Any person with disabilities who needs help accessing the content of the FCC Public file should contact Vicki Kaping at vkaping@wdio.com or (218) 727-6864 MoCA Westport’s [Museum of Contemporary Art Westport] weekly summer day camp located at 19 Newtown Turnpike in Westport features weekly sessions from June 6th - August 22 2022. Each week of the camp includes art activities hands-on agricultural and gardening lessons and special events. Campers also have unique access to engage with MoCA Westport’s contemporary art exhibitions.   Camp MoCA Westport is led by certified art educators & CPR/First Aid-certified camp counselors.  Camp MoCA operates weekly from Monday - Friday Campers can sign up for a single week or multiple weeks at a time Camp MoCA 2022 now offers more options including: Full Day Camp (Ages 3.5 - 8): 9:30 AM - 3:00 PM Half Day Camp (Ages 3.5 - 8): 9:30 AM -12:30 PM Afternoon Intensive Art Camp (Ages 9 - 12): 1 - 3 PM Each week will feature intensive art enrichment opportunities for our older campers led by certified art instructors “We look forward to welcoming returning and new campers to Camp MoCA this summer Campers will love the diverse indoor and outdoor activities led by our talented art educators and counselors.”  “Each week has a unique twist so campers who join us for several weeks will never get bored - campers will be grouped by age and will have opportunities to explore nature and discover all that a day camp at a Contemporary Art Museum has to offer,” she added MoCA Westport features a HEPA-grade air filtration system and all health and safety protocols will be explicitly followed.  Register for Camp MoCA on MoCA Westport’s website (mocawestport.org) or contact the Museum at 203/222-7070.  Camp MoCA is a fully-accredited youth camp held both indoors and outdoors MoCA will be closely monitoring best practices from state governance to implement for the safety of all campers and campers over the age of two to wear face masks and wash their hands routinely while indoors Increased vigilance will be given to our cleaning and disinfecting procedures of shared indoor spaces As COVID recommendations continue to evolve we will be flexible in adjusting to those changes and anticipate multiple revisions to our protocols over the course of the summer Season highlights include the much-anticipated MONUMENTS which juxtaposes decommissioned Confederate statues with contemporary artworks; and MOCA Focus: Takako Yamaguchi the artist's first solo museum show in Los Angeles Additional highlights include Diary of Flowers: Artists and their Worlds an exhibition exploring how artists construct imaginative and personal networks; Tracing Performance showcasing collection works that consider the relationship between objects debut of Wael Shawky's acclaimed Drama 1882 2024 /PRNewswire/ -- Offering a dynamic array of perspectives and a wide-ranging program The Museum of Contemporary Art (MOCA) is pleased to announce its 2025 exhibition schedule The museum's season invites visitors to engage with artistic visions and artworks that reflect and respond to the stories shaping our times The program weaves together ambitious collection-based exhibitions and solo presentations by leading contemporary artists and provocative explorations of history through contemporary art 2026) highlights works from the permanent collection by more than two dozen artists that consider the rich relationships between objects co-organized by MOCA and The Brick (formerly LAXART) Juxtaposing decommissioned Confederate monuments with contemporary artworks MONUMENTS invites audiences to reflect on the evolving meanings of these highly charged symbols and their implications in the present day we continue building on MOCA's incredible legacy of presenting exhibitions that speak directly to the present moment while drawing from history in deeply resonant ways This season's exhibitions encourage our audiences to connect with new ideas and explore how contemporary art can illuminate the complexities of our world MOCA is proud to create a platform for artists who engage in and inspire critical thought MOCA's Chief Curator & Director of Curatorial Affairs adds: "Our 2025 exhibitions demonstrate the extraordinary range of expressions in contemporary art—from large-scale explorations of artists' personal and social worlds to groundbreaking solo projects and historical reexaminations Whether addressing the construction of history these exhibitions challenge and inspire us to rethink and re-imagine our relationship to time the ambitious site-specific installation by the celebrated Icelandic-Danish artist presented as part of PST ART: Art & Science Collide and deeper connections with contemporary art and its impact within culture and society 2025 SCHEDULE OF UPCOMING EXHIBITIONSWael Shawky, Drama 1882February 20 – March 16 2025WAREHOUSE at The Geffen Contemporary at MOCA Egypt) widely celebrated film installation Drama 1882 Debuted at the Egyptian Pavilion of the 2024 Venice Biennale moving image work takes the form of an eight-part opera performed for the camera and filmed in a historic theater in Alexandria Drama 1882 takes the populist Urabi revolution in Egypt against British imperialism (1879-1882) as its foundation specifically a cafe brawl between a local donkey owner and a Maltese man that unleashed events that precipitated over seventy years of British colonial rule in Egypt Shawky proposes alternatives to established records Sung entirely in classical Arabic by professional performers with sensational costumes and against the backdrop of colorful Drama 1882 is a spectacular restaging of historical events and further explores Shawky's interest in historical counter-narratives ultimately emphasizing the futility of war while probing the implications of drama itself the work "conjures a sense of entertainment Drama 1882 is presented at MOCA as part of Wonmi's WAREHOUSE Programs and is organized by Alex Sloane Chief Curator & Director of Curatorial Affairs Diary of Flowers: Artists and their Worlds March 2 MOCA Grand Avenue Diary of Flowers: Artists and their Worlds brings together over 80 artworks from MOCA's renowned collection demonstrating how artists create their own worlds through their art–building networks Embracing the boundaries between the personal and the social as well as emotional and psychological states works in the show privilege sites of creativity and the place of the imagination to conjure new worlds and possibilities and intimacy become important starting points for artistic expression The exhibition features work in all media across different geographies as well as a gallery dedicated to Nan Goldin Diary of Flowers: Artists and their Worlds is organized by Clara Kim Tracing Performance, Fictions of Display June 29 This exhibition highlights works from the MOCA permanent collection that engage with the not always obvious relationship between objects Fictions of Display builds upon Claes Oldenburg's The Store (1961-62) a performative project that staged the commercial transaction of selling an artwork in a bodega-like environment as well as other economies determined by gestures and bodies in works by Colette (or her alter ego Justine) Several works on view have never been exhibited at MOCA before including the painting Monsieur On Sait Qui (1982) by influential Polish theater director and happening artist Tadeusz Kantor; the five-channel video installation Big Hunt (2002) by Catherine Sullivan who was trained as an actor as well as visual artist and performance artist Guillermo Gómez-Peña's photograph The Loneliness of the Immigrant (1979 - 2011) The exhibition will also present recent acquisitions including Silke Otto-Knapp's painting Shattentheater (Chalk circles) [Theater of Shadows (Chalk circles)] (2017) a five-panel work based on photographs of the Bauhaus Dessau theater facility designed by Walter Gropius in 1926 Fictions of Display is organized by José Luis Blondet MOCA Focus: Takako YamaguchiJune 29 MOCA Focus: Takako Yamaguchi is the third exhibition in the recently relaunched MOCA Focus series which presents an artist's first solo museum show in Los Angeles and centers on new or discrete bodies of work in the early 1970s and began to appropriate imagery from sources as diverse as Mexican muralism and Art Nouveau in ornate paintings that pose a challenge to rigid notions of ethnic identity and cultural ownership the Los Angeles–based artist is synthesizing the motifs she has developed over the past forty years in a series of archly stylized oil-and-bronze-leaf seascapes featured in this exhibition Yamaguchi's precise yet luscious paintings incorporate her "Eastern" and "Western"-influenced vocabulary of abstract zigzags and braids to denote natural forms like rain representing a culmination of her decades-long provocations of style MOCA Focus: Takako Yamaguchi is accompanied by a Nimoy Emerging Artist Publication Series catalogue MONUMENTSOctober 23 2026The Geffen Contemporary at MOCAOctober 23 Co-organized and co-presented by MOCA and The Brick, MONUMENTS marks the recent wave of monument removals as a historic moment The exhibition reflects on the histories and legacies of post-Civil War America as they continue to resonate today It brings together a selection of decommissioned Confederate statues with contemporary artworks borrowed and commissioned for the occasion Removed from their original outdoor public context and installed within the galleries of MOCA and The Brick the decommissioned Confederate statues featured in MONUMENTS will be shown in their varying conditions The selection of monuments comes from a group of nearly 200 that have been taken down in recent years (many more currently remain standing) These monuments are juxtaposed with artworks by emerging and established figures in contemporary art including: Bethany Collins, Karon Davis The decommissioned monuments in the exhibition illustrate the evolution of the Confederate monument from its roots in a funerary impulse to its rise as a crystalline symbol of a white supremacist ideology whose obstinacy became increasingly conspicuous against calls for civil rights They are borrowed from private lenders and institutions such as the Jefferson School African American Heritage Center and the Black History Museum and Cultural Center of Virginia as well municipalities including the cities of Baltimore MONUMENTS will be accompanied by a scholarly publication and a robust slate of public and educational programming MONUMENTS is co-organized by The Museum of Contemporary Art based on an exhibition concept by The Brick Director Hamza Walker The exhibition is co-curated by Hamza Walker ABOUT THE MUSEUM OF CONTEMPORARY ARTFounded in 1979 MOCA is the defining museum of contemporary art MOCA has achieved astonishing growth; a world-class permanent collection of almost 8,000 objects international in scope and among the finest in the world; hallmark education programs that are widely emulated; award-winning publications that present original scholarship; groundbreaking monographic and thematic exhibitions of international repute that survey the art of our time; and cutting-edge engagement with modes of new media production MOCA is a not-for-profit institution that relies on a variety of funding sources for its activities MUSEUM ADMISSION: General admission to MOCA is free courtesy of Carolyn Clark Powers Special exhibitions at MOCA are $18 for adults; $10 for students with I.D and seniors (+65); and free for children under 12 and jurors with I.D MOCA members always receive free admission to special exhibitions More Information: For 24-hour information on museum hours MEDIA CONTACTS:Danielle Bias Chief Communications Officer[email protected] Offering a dynamic array of perspectives and a wide-ranging program The Museum of Contemporary Art (MOCA) is pleased to announce its 2025 exhibition .. The Museum of Contemporary Art (MOCA) announced today two winners of the inaugural Eric and Wendy Schmidt Environment and Art Prize: Julian Charrière .. Art Entertainment New Products & Services It became clear years ago that the Virginia Museum of Contemporary Art had outgrown its longtime Oceanfront home Officials from Virginia MOCA and Virginia Wesleyan University broke ground Monday on a new facility tailor-made to the museum’s growing ambitions which will become part of an arts hub at the liberal arts university “will serve as one of the region’s largest art classrooms and creative hubs for K-12 university students and lifelong learners.” bankrolled by some of the biggest names in Hampton Roads philanthropy Those who have led the charge say they hope the new facility will help locals view both the museum and the university — a pair of relatively young institutions that have grown beyond humble beginnings and onto the international stage — in a new light The 38,000-square-foot building that Virginia MOCA currently occupies was built decades ago as a community art center The museum is constantly rotating in new artwork and doesn’t have a collection of its own like other museums such as the Chrysler Museum of Art in Norfolk Byrne said she recalls one time when a piece was too large for the back doors which allow people in and out just fine but can’t accommodate large structures for which most modern museums would use a dedicated loading area Virginia MOCA had to knock out a wall to bring in a large diorama They rebuilt the wall for the exhibition and then immediately knocked it down again to get the piece out spending time and resources on renovations just to get the wall back to where it started “We borrow precious works of art from people from all over the world And so to have a new building that has really secure HVAC and all of the things that are needed to be able to say ‘we can take care of these works in the right way’ is something that we really need to work towards,” Byrne said and as wonderful as the city of Virginia Beach has been to help take care of it as an accredited museum we're sort of ready for something shiny and new.” Virginia MOCA is tucked away in the woods right where Interstate 264 terminates a few blocks from the Oceanfront Summer foliage makes the museum invisible to the many tourists driving by The turn into the museum is half hidden behind a gas station and is easy to miss leaving inattentive would-be visitors stuck on the highway headed away from the Oceanfront which is lovely and very frustrating all at the same time,” Byrne said The city of Virginia Beach owns the current building and has leased it to the museum for decades for just $1 each year chair of Virginia MOCA’s board of trustees But when museum leadership started taking a good hard look after a rebranding campaign during the pandemic they decided the current facility didn’t match the museum they wanted to be “We either need the city to spend a whole bunch of money on this building to bring it up to standards for a museum or we need to look elsewhere,” Berlin said Officials also want to raise the museum’s profile Byrne said that even as the museum has matured gaining accreditations and international acclaim the local perspective is still of a quaint little arts center that runs the Boardwalk Art Show every fall “We work with contemporary artists from all over the world and museum colleagues from all over the world and our reputation is really good and very positive and people see us as players in the contemporary art world we're not seen in that same way,” Byrne said and so how does our next step in the organization begin to reflect that.” said they looked at locations such as the nearby VIBE arts district before the connection to Virginia Wesleyan University cropped up VWU and Virginia MOCA had collaborated before Between student internships and working together on displays he described a “great interactive relationship” between his faculty and museum staff Miller said he was talking with the museum’s director when he heard the issues with outgrowing the building and trying to figure out where it could land and some of our trustees at Virginia Wesleyan took an interest in the project and were engaged in the planning,” Miller said A who’s who of Hampton Roads philanthropy joined forces to bring the two institutions together Joan Brock and Jane Batten announced last year they would fund the construction of a new museum building at VWU with a combined gift of $25 million Susan Goode’s name is already on the university’s Fine and Performing Arts Center which will stand next door as a companion to the new Virginia MOCA facility as part of an emerging arts hub at the university Berlin said the involvement of the three families all of whom had previously supported both institutions you need to sit up and listen,” Berlin said The facility will become part of VWU’s own designs to remake the entry into campus creating a direct route from the entrance to the new complex of arts buildings The new building will be a glass-fronted facility fully visible from the road outside of the campus meaning visitors will be able to see the art on display before they even stop their cars Virginia MOCA’s new physical visibility is intended to similarly raise Virginia Wesleyan’s profile VWU was “a sleepy 1,400-student school.” Now VWU’s Global Campus program has more than doubled the university’s enrollment and includes students from all over the world untapped markets to set us apart from other institutions in a congested market And those blue waters include having a world class museum right here on campus,” Miller said in an interview The new location puts VMOCA in reach for many more potential visitors Miller and Berlin each pointed out: if you draw a circle within a 30-minute drive around VMOCA’s current location But if you draw the same circle around VWU it includes 1.8 million people — three times as many potential visitors within a comfortable drive the new facility will include 20% more exhibition space and the kind of back-of-house that modern museums need to handle the logistics of moving pieces for exhibit Unlike museums at other campuses — the Barry Art Museum at Old Dominion University for example — MOCA won’t become an arm of the university it’ll maintain the same independent board and have the same deal with VWU as it had with the city renting the brand-new $25 million museum for just $1 a year Byrne said the move won’t mean abandoning the Oceanfront The museum will maintain a satellite gallery near its current location and will still run the popular Boardwalk Art Show Construction will start soon and last about a year and a half Byrne plans to have the first exhibits in the new facility in early 2026 NOTE: Virginia Wesleyan President Scott Miller is a member of WHRO’s governing board of directors is also a member of VMOCA’s Board of Trustees.  Neither is involved in editorial decisions of the news department Get local news every weekday in your inbox Sign-up here. MOCA Jacksonville, a Cultural Institute of the University of North Florida, debuts its next Project Atrium installation from internationally-acclaimed artist Rafael Lozano-Hemmer a new work commissioned as part of the museum’s 100th anniversary celebrations Using state-of-the-art thermal imaging software the exhibition constitutes a thermal observatory—a constantly updating map of the room’s temperature As with previous biometric art projects by Lozano-Hemmer the piece is a call to think of the human body as a continuum with the environment around us “Spectral Subjects is the culmination of years of research on thermal imaging at my studio, trying to make tangible our invisible but essential connection to our immediate environmental context,” Rafael Lozano-Hemmer said. “I am delighted to present this project in the context of MOCA’s 100th anniversary and can’t wait for visitors to complete the artwork.”  Visitors to MOCA Jacksonville can view the installation from December 13 MOCA Jacksonville invites the community to celebrate the conclusion of its 100th anniversary at the Opening Celebration & Preview Event for Spectral Subjects on Thursday Spectral Subjects is a new interactive installation designed to transform the Atrium of the Museum of Contemporary Art Jacksonville. The piece constitutes a thermal observatory showing a constantly updating map of the room’s temperature on three colossal wall-projections Using state of the art Xenics Dione thermographic cameras the project detects heat and cold in the environment the building’s air circulation and ventilation the artwork generates a particle system that is a visible manifestation of its dissipation in the museum, showing, for example, how body heat emanates outward and away from visitors and is exchanged with the cooler The skin is not the limit of our body but only its visible limit. Sound biological waste, and even chemical signals in the form of pheromones are constantly seeping in and out across our body’s visible limits which is incorrectly described as the boundary between the public and the private.   For more than 30 years, Rafael Lozano-Hemmer’s artworks have been tracking the public using a variety of technologies to create interactive artworks that are “incomplete” without the public’s presence His pieces use biometric technologies such as pulse sensors the artworks are not meant to create a sinister “portrait” of individuals but to create anonymous “landscapes” of participation where the goal is to make evident relationships between people and the environment that we all share.  Rafael Lozano-Hemmer was born in Mexico City in 1967 in Physical Chemistry from Concordia University in Montréal Canada.Lozano-Hemmer is a media artist working at the intersection of architecture and performance art He creates platforms for public participation using technologies such as robotic lights his light and shadow works are “antimonuments for alien agency”.He was the first artist to represent Mexico at the Venice Biennale with an exhibition at Palazzo Van Axel in 2007 His public art has been commissioned for the Millennium Celebrations in Mexico City (1999) the Expansion of the European Union in Dublin (2004) the Student Massacre Memorial in Tlatelolco (2008) the pre-opening exhibition of the Guggenheim in Abu Dhabi (2015) and the activation of the Raurica Roman Theatre in Basel (2018) He has received two BAFTA British Academy Awards for Interactive Art in London a Golden Nica at the Prix Ars Electronica in Austria “Artist of the year” Rave Award from Wired Magazine the title of Compagnon des Arts et des Lettres du Québec in Quebec and the Governor General’s Award in Canada Lozano-Hemmer was the subject of eighteen solo exhibitions worldwide including a major show at the Hirshhorn Museum in Washington DC the inaugural show at the AmorePacific Museum in Seoul and a mid-career retrospective co-produced by the Musée d’Art Contemporain de Montréal and SFMOMA his immersive performance “Atmospheric Memory” premiered at the Manchester International Festival and his interactive installation “Border Tuner” connected people across the US-Mexico border using bridges of light controlled by the voices of participants in Ciudad Juárez In the Indigenous artist’s performance-packed exhibition from the opening moment of the Cherokee and Choctaw artist Jeffrey Gibson’s expansive new show at MASS MoCA On a crisp autumn afternoon in North Adams he takes the stage for a public talk with the writer and activist Albert McLeod from the Nisichawayasihk Cree Nation and Metis community of Norway House in northern Manitoba it’s like the power comes from a multiplicity of things,’ Gibson says of the exhibition’s title While ‘POWER FULL’ is chock-a-block with Gibson’s signatures – the flamboyant beadwork garments the kaleidoscopic geometries forming mirror walls and platforms handwritten texts –  the exhibition is also Gibson has chopped the institution’s 1,500-square-metre double-height Building 5 into a quintet of zones which riff on collective institutions a booming techno soundtrack by Patrick ‘Reachout’ Coll compliments little dancefloors of fused glass panels above which hang neon and beribboned outfits inspired by historical Lakota Ghost Dance garments and contemporary Two-Spirit People (1991) – a documentary by Michel Beauchemin Lori Levy and Gretchen Vogel – demands to be seen and heard from its home on a central As does Your Spirit Whispers in My Ear (2024) a new documentary Gibson has woven together from submissions by dozens of Two-Spirit drag artists womblike portal intersects the vast gallery offering a moment of reflection and anticipation It leads to a brighter space containing more garments and platforms Rainbow vinyl film turns the long rows of windows into prisms If the first room was organized around documentation more than a dozen Indigenous artists will don these garments or turn those platforms into stages for their own work ‘Laura Ortman will do field recordings in the gallery on-site,’ explains MASS MoCA Chief Curator Denise Markonish ‘and then process those through violin and looping pedals for a performance in January Martha Redbone is talking about organizing a second line brass band procession through the museum wants to bring a teepee that he’s built and is working on songs related to that we’re going to do a dance party with MX Oops.’ Further details are still being worked out but guitarist and saxophonist Takiaya Reed was already activating a glowing platform creating a doom racket with a drummer that rendered the room’s donor-class small talk over wine and cheese increasingly irrelevant ‘It’s a volatile space to be within the colonial project and the music is expressing  that,’ Reed said afterwards ‘I want people to experience freedom and liberation and I want Indigenous sovereignty to be pushed to the forefront of everything.’ It’s certainly pushed front and centre in two further rooms A ground-floor gallery screens Gibson’s two-channel video Sometimes your body changes and you don’t remember your dreams (2024) in which he re-enacts and reinterprets a piece by performance artist and club kid Leigh Bowery Bowery preens and poses before a mirror which blocks his view of the audience Gibson layers his own notions of regalia and movement onto Bowery porting the community-building idea of ‘going out’ onto the spirit-raising necessity of dance in Indigenous communities stocked with records of McLeod’s activism and documentation of the 1990 Annual Gathering of Native American Gays and Lesbians at which First Nations Cree Dr Myra Laramee introduced the term Two-Spirit along with vitrines of work by the visionary gay communist publisher Pinko including its latest book Queer Palestine (2024) a garment floats like a spirit on teepee poles latched together with deer hide Emblazoned on its chest is the phrase: ‘All the things that led to this exact moment.’ Those same words also appeared on a bespoke garment Gibson made for the singer ANOHNI who wore the flowing white outfit at an opening-night performance in MASS MoCA’s intimate theatre where she ripped out the hearts of all in attendance with a series of her own songs choice covers of Beyoncé and The Velvet Underground and video footage of liberation activist Marsha P Gibson said ANOHNI’s voice is his constant companion and the first artist he thought of for a MASS MoCA collaboration ANOHNI will take the dress into her own world ‘I’m just so thrilled to know it’s going to have a life.’ Jeffrey Gibson’s ‘POWER FULL BECAUSE WE’RE DIFFERENT’ is on view at MASS MoCA, North Adams Jesse Dorris is a writer based in New York a show of the East Village artist’s photographs and archival materials paints a picture of her queer community a gripping retrospective traces decades of the artist’s experimentation with the medium The artist reimagines the Divine Comedy through an anti-colonial lens in three exhibitions across Lehmann Maupin’s galleries the artist’s pointilist canvases probe the politics of legibility and identity Building on his presentation at the Venice Biennale the show is most effective when it engages with haptics at a distance a show of abandoned projects sees the artist contemplating endings Overtaking two of Matthews Marks Gallery’s New York locations, her installations explode stale hierarchies of taste the artist presents a dissolving model city with an uncertain afterlife a significant survey by the artist charts her ongoing experiments in gestural and accumulative brushstrokes A fixture in the feminist and video art canons the artist explored power and control in mass media Other highlights include an intimate photobook by Coca Dai and Abdellah Taïa’s lyrical new novel the writer examines how the rhetorical strategies once championed by the cultural left have become tools for the political right video artist and performer created rigorous work grounded in Korean traditions (Jesse Costa/WBUR)In the heart of MASS MoCA In this space that is part nightclub and part church a kaleidoscope of experiences fill five screens suspended from the ceiling The lives of indigenous and queer activists and artists reflect off a floor to ceiling mirror Gibson stood in the gallery as colorful stages were constructed around him Jeffrey Gibson walks through the MASS MoCA gallery which is being set up for his exhibit (Jesse Costa/WBUR)“The thing about the nightclub is there's no camera pointed at you and the lights are off,” he said “There's an anonymity that happened in my memory of nightclubs but also really collected you with what felt like your people.” day-to-day experience of what it means to be two-spirit Just as portals allow passage between dimensions Gibson sees the two-spirit identity as a portal of its own Museum staff prepare the front gallery of Jeffrey Gibson's exhibit and you exit a different iteration of yourself,” he said who’s the first ever Native American to represent the U.S is a citizen of the Mississippi Band of Choctaw Indians and half Cherokee and color to explore the intersection of Indigenous and queer identities he painted a richly colored and symbol-laden mural on the Rose Kennedy Greenway near South Station Now he’s created a whole immersive experience. Gibson’s multimodal art celebrates that which is indigenous, that which is queer, that which is beautiful in its infinite and colorful differences. Gibson spent the last month directing the installation of this immersive experience called “POWER FULL BECAUSE WE’RE DIFFERENT.” MASS MoCA staff suspend Jeffrey Gibson’s oversized garments from the ceiling above 7 12×12-foot fused glass performance stages with graphic geometric designs (Jesse Costa/WBUR)The exhibition draws inspiration from an early ‘90s documentary about two-spirit people and from deep conversations with Albert McLeod “I think that’s why these artistic exhibits are so important because they create a sacred space where everything can exist in balance and we don’t have to explain,” McLeod said McLeod says two-spirit beings have always existed across tribes under different names some original words lost to history and colonization A photograph of Albert McLeod canoeing at the 2nd National Aboriginal AIDS Conference in Vancouver (Jesse Costa/WBUR)Indigenous two-spirit couple “It's definitely not biological,” Stevens said “It's spiritual and it's having that spiritual connectedness to whether it be more masculine or feminine It's being able to be operative in both spaces.” Sixty tall windows are covered with vinyl patterns which let in natural light and emanate into a rainbow prism like stained glass across the concrete floor The walls are scrawled with Gibson’s handwritten messages speak to your ancestors.”“I am haunted by you Jeffrey Gibson and curator Denise Markonish gaze at the large garments he’s created (Jesse Costa/WBUR)MASS MoCA chief curator Denise Markonish says she and Gibson have been talking about this exhibit for years she’s never seen an artist divide this gallery — the size of a football field — to create such disparate experiences “And just the way it so radically shifted how the space feels it fills it with this pastel light that feels so soft,” she said There are consistent markers throughout Gibson’s work Use of traditional materials like beading and ribbon and jingles from powwow regalia The psychedelic color palette with geometric shapes Set of eight pins created for Jeffrey Gibson’s site responsive solo installation at the U.S The pins correspond to the eight flags Gibson designed for the entrance of the pavilion (Jesse Costa/WBUR)“I have so much experience in a video at the end of the exhibition where he dons seven glorious glittering garments Those garments also hang throughout the gallery on tipi poles The video is an ecstatic vision of Gibson in heavy makeup playing up the camp and the glory and the cacophonous with a soundscape he composed of dozens of instruments Jeffrey Gibson watches the video he produced where he wears all seven garments in the exhibition (Jesse Costa/WBUR)“When I think of it visually he is often playing with tropes of art history,” Markonish said “He's looking at modernism and minimalism and kind of hard edge geometric painting but what he's doing at the same time is he's looking at that through the lens of indigeneity.” The video pays homage to a performance art icon named Leigh Bowery from whom Gibson draws influence and sees as a kindred spirit Bowery spent a week living behind the street-facing windows of the Anthony D’Offay Gallery in London He preened and posed while trying on costumes It interrogated the idea of what it meant to see yourself while also being seen and it engaged in camp but it also really engaged in what I would say is like political camp,” said which was oftentimes very punk about disrupting the status quo of the LGBTQ community of the time It was not meant to make you feel comfortable.” just a euphoric energy emerging from the footage The way Gibson spins and moves is almost meditative Jeffrey Gibson’s exhibition "POWER FULL BECAUSE WE’RE DIFFERENT" is on view at MASS MoCA through May 2025. Cristela Guerra Senior Arts & Culture ReporterCristela Guerra is a senior arts and culture reporter for WBUR. Print Collaboration among L.A.’s top art institutions reached new heights Monday as the Hammer Museum the Los Angeles County Museum of Art and the Museum of Contemporary Art announced the joint ownership and management of a collection of 260 works of art gifted by philanthropists Jarl and Pamela Mohn The collection — consisting entirely of works by L.A.-based artists — has been accumulated by the Mohns over the last two decades and is being called the Mohn Art Collective: Hammer The gift is accompanied by a $15-million to $20-million endowment for future acquisitions and is designed for annual growth It also covers expenses incurred for storage and care of the art “I don’t want it to be a burden,” Jarl Mohn told The Times about his decision to pair MAC3 with an endowment. “I want this to be a really joyful experience and not a heavy lift for the institutions.” Mohn said the endowment is larger than “all the things I’ve supported at all the art institutions in L.A., in the aggregate over the last 20 years.” Mohn added that he wasn’t sure of the market value of the MAC3 collection, which was in the process of being appraised. He expected to know within the next four months. Entertainment & Arts The Hammer Museum is debuting large-scale immersive installations in its lobby and new gallery by artists Chiharu Shiota and Rita McBride to mark the completion of its new building project The Hammer is augmenting the MAC3 collection with 80 works it has collected over the 12 years it has been staging its “Made in L.A.” biennials. An additional 16 pieces have been added to the collection from “Made in L.A. 2023” by curators from all three museums — for a total of 356 paintings we talked for three hours and we voted,” Mohn said Curators from each museum will jointly decide what to acquire each year going forward — with the sole stipulations being that the works be by L.A acquisitions will be culled from future “Made in L.A.” biennials Each institution will have access to the full collection for display and arrangements will be made for the collection to be lent to museums globally — with financial aid offered to small institutions without the means to support such a program the artist reflects on the devastating sacrifices she made along the way Mohn said this collection has been decades in the making “I decided to build a collection around emerging L.A artists because we’re all lucky that we live in a place like this where there’s something happening,” he said “It’s like being in New York when the Abstract Expressionist movement was happening or in Paris around the turn of the century with the advent of Cubism.” Early this year the Los Angeles County Museum of Art announced a partnership with the planned Las Vegas Museum of Art LACMA’s Michael Govan and LVMA director Heather Harmon discuss the details of the arrangement but it’ll be for everybody,’” Mohn said of Govan’s request so you got first dibs on it,’ but [the museums] have been so collaborative and so cooperative it really is exactly as I had envisioned it would go.” The Mohns have a history of boosting local art and artists. They have provided significant financial support for “Made in L.A.” since its 2012 inauguration. They also support three awards given to L.A. artists — the Mohn Award, the Career Achievement Award and the Public Recognition Award. They have contributed financially to institutions such as the Institute of Contemporary Art, Los Angeles; the Brick; and Los Angeles Nomadic Division. Jessica Gelt is an arts and culture writer for the Los Angeles Times. Print There are no secrets in Olafur Eliasson’s art piling enigma on top of inscrutability — but no secrets He happily shows you how he makes his art’s mysteries which lets you slip comfortably into their dazzling often spectacular beauty without fear of being duped but you are welcomed in as a full participant in the seductive play “Olafur Eliasson: OPEN” debuted Sunday in Little Tokyo, where it fills the primary warehouse space at the Geffen Contemporary at MOCA. One among more than 70 exhibitions around Southern California in the Getty Foundation-sponsored “PST Art: Art & Science Collide,” it is scheduled for an exceptionally long run — almost 10 months — closing July 6 Nine recent paintings and 18 light installations conceptually and perceptually thrilling survey of the Berlin-based Icelandic Danish artist’s work from the last 20 years white and an infinite variety of shades of gray emerge from pitch-black darkness Occasionally they’re interrupted by bursts of jewel-tone color — ruby The planet’s edge is outlined as a glowing crescent Einstein, Kubrick — Eliasson never lets obscure optical physics swamp the viewer’s experience, frequently nodding to the common imagery of popular culture as a congenial anchor. In a marvelous 2018 installation at the Marciano Art Foundation near Hancock Park the last substantive time his work was shown in Los Angeles his projections of highly saturated color were produced by shining intense beams of pure white light through monochrome gels tucked up into the building’s rafters The method relied on the century-old mechanics of Hollywood’s Technicolor film processes to create an abstract “moving picture” in three-dimensional space the shapes in “Pluriverse assembly” suggest familiar objects — a simple light bulb or a changing typology of ancient Greek vases Rather than incandescent tungsten or wine and olive oil these constantly morphing shapes carry sparkling pinpoints of light sometimes used as grave markers or funerary offerings lend a spiritual dimension to Eliasson’s luminescent sight mixed media (Olafur Eliasson) Hypnotically gorgeous the attention-grabbing illuminations eventually give way to a realization that a dimmer level of light is also being cast on the gallery’s side walls — mostly moving arcs and circles one discovers that the work’s flat front scrim is actually a shallow box some sort of machinery can be glimpsed inside Go all the way around and the wizard’s curtain is pulled back to reveal a surprising array of mechanisms that create the magical optical effects out front What’s most surprising is how low-tech it all is Some clear glass halos and discs hang in space their high-intensity beams trained on pieces of glass produce the visual spectacle as light bends and shatters Walk behind Olafur Eliasson’s black scrim and the artist reveals how the phantasms of “Pluriverse assembly” are made from simple elements including glass discs hung on filament in front of spotlights (Christopher Knight / Los Angeles Times ) One lamp is trained on a pedestal holding assorted glass lenses and other objects on two small turntables (Have you seen those flashy displays of cubic zirconia rings and lab-created gemstone bracelets on broadcast retailer Jewelry TV?) Random object juxtapositions create ever-changing patterns of illumination which reflect off an angled mirror fixed above and onto the back of the big scrim suspended panels further interrupt the perceptual action — at one moment creating what I swear was a passing lozenge-within-a-disc that looked like the CBS eyeball The multiple intimations of television made me smile but the installation’s mechanics have the disorienting feel of an obsessed tinkerer’s haphazard workshop out in the garage albeit assembled and delivered with sophistication and panache Returning to the front to sit on a bench and watch the imaginative spectacle anew becomes an enchanting rather than a puzzling experience the “Pluriverse assembly” gathers up worlds that are human natural and spiritual — the universe made plural Eliasson worked with Museum of Contemporary Art senior curator José Luis Blondet associate curator Rebecca Lowery and present and past curatorial assistants Emilia Nicholson-Fajardo and Anastasia Kahn They arranged the exhibition around a central gallery that features a plain rainbow of light arcing across a freestanding back wall They range from 24 feet to more than 40 feet in height Walk beneath a tower’s mirrored walls and into its inner sanctum and assorted optical effects unfold overhead Olafur Eliasson’s monumental kaleidoscopes have been installed in the Geffen Contemporary at MOCA Visitors step into mirrored towers and look up to see worlds unfold before their eyes (Craig Nakano / Los Angeles Times) The most unexpected is composed of scavenged plastic grocery bags their disturbing reflection into mirrored infinity entangled with your own gawking reflection the towers’ tall shapes suggest familiar structures — buoys bobbing at sea warning of hazardous shoals ahead; deep-sea oil rigging pulling up the fluid that drives the industrial ruin of global warming; the watchtowers surveilling a prison or military installation Exit and walk around in front of a yellow light projected against the rainbow wall’s back side and your cast shadow mysteriously fragments The world just experienced its hottest year on record but does our climate crisis make for good art With the latest iteration of Pacific Standard Time exposing the space behind each freestanding wall and hefty steel counterweights are holding up the semicircular tubes that protrude out front the inescapable (if invisible) pull of gravity is emphasized That’s a fundamental concern of sculpture in every artistic age and culture — its brass ring if you will — and here it does yeoman’s work in energizing spaces both actual and illusionistic The MOCA survey is titled “OPEN,” all in caps Eliasson strives to keep perception from closing down flattening out into the dull familiarity of debilitating habits — which applies to varieties of experience The generosity of such a project can’t be overstated Olafur Eliasson, “The listening dimension (detail),” 2017, mixed media. (Christopher Knight / Los Angeles Times) Where: Geffen Contemporary at MOCA, 152 N. Central Ave., Little TokyoWhen: Thursday-Sunday, through July 6Admission: $18 for adults, $10 for students and seniors older than 65, free for children younger than 12Info: (213) 626-6222, moca.org Jan 1, 2025 | | 2 Could the Westport Journal follow up with a call to Ruth Mannes or members of the board or the staff Don’t readers deserve to know more than what MoCA decides to tell us donors deserve to know how their money is being spent Ruth Mannes willingly stepped down from this role and is only on the best of terms with the board of directors and staff at MoCA CT She left MoCA CT in a better place than what she inherited Leading this nonprofit organization during and after a pandemic was a highly stressful burnout role and Ruth felt it was time to hand over the reins to another wonderful candidate this is the worst picture I’ve ever seen of Ruth You must be logged in to post a comment I agree with the Comment Policy All rights reserved.Reproduction of material from westportjournal.com without written permission is strictly prohibited All of the money donated here is added to Westport Journal’s editorial budget Please make your donation recurring if you can You and all of our readers will benefit from your generosity