Month: August 2014

Christopher Russell’s precious clay

Christopher Russell’s precious clay

Christopher Russell’s intricate terra-cotta sculptures explore themes of nature, craftsmanship, and museography. As part of his exhibition at Independent Art Projects, we invited Christopher to discuss his inspiration, process, and vision. This interview happened right after the artist gallery talk on Saturday, August 16. Russell’s works will be on view at IAP until Sunday, September 21, 2014.


Alexandra Jelleberg: Christopher, Thank you for taking the time to answer some more questions following your artist talk at Independent Art Projects. I remember the first time we met, when you delivered your pieces to the Mill in Cummington, Massachusetts, where Ferrin Contemporary is housed. This happened just after the whirlwind of activities that took place in the weeks before Independent Art Projects opened its doors. Leslie Ferrin and Martina Caruso (co-founder and director of IAP, respectively) had been in contact with Julie Saul (of Julie Saul Gallery, New York, the gallery which represents you) about showing some of her artists in our new space. Everyone agreed that you would be perfect for IAP’s summer exhibition. All seemed perfectly aligned until we realized Leslie would be in China and you would be gone for a residency in Scotland when it came time for your work to be delivered. The solution to this international conundrum lie in the upfront delivery of your work. I remember I was giving a tour of the Mill to fellow ceramic artist Sin-Ying Ho, while simultaneously looking out the window for you as you navigated your works to the site. Do you often have similar unique and interesting moments leading up to exhibitions?

Christopher Russell: The days leading up to a show, with all the logistics, are usually just really busy!  Finishing everything, packing it up, delivering it to where ever it needs to go— it’s all a major military action. It is always very nice to deliver work outside New York City— after the whole ordeal of packing up the work, knowing that there will be parking at the other end seems so luxurious.


AJ: The works on view at Independent Art Projects were the first you hadn’t installed by yourself. While you must have been anxious about the loss of control over the details of the exhibition layout, you did get a chance to encounter your work with the element of surprise that your audience is normally privileged to. Were you able to have that magical moment of discovery when you saw your sculptures at IAP? Can you tell us a little bit more about this exhibition’s design process?

CR: It was exciting knowing that while I was away, in the Scottish Highlands, over in North Adams someone was taking the trouble to put my work up in the gallery; that people were coming to the opening and seeing the show, independent of me.  And I am very pleased that it went so well.  Even the piece that was most complicated to hang, the “Morning Glories”, seems to have gone up without problems. It has been a long term process for me, to figure out how to make my work independent of me; so that it can exist on its own, so I don’t have to be there like a stage mother, micromanaging. I have worked hard on designing my installation systems— so that they look good, but are also simple so others can most easily handle the pieces.  It is a balancing act having the work exist in the space or on the wall the way I want it to while trying to be sure it’s simple enough to get it there, without the gallery installer getting to a point where they are cursing my name.

And it was exciting to come into the gallery and see how it was arranged—and again I was really pleased.  I had never seen the “Morning Glories” properly installed before I saw the show, so it was nice to finally meet it.

Related to my efforts with my installation systems: These days I won’t be in a gallery for very long before I start inspecting how the artwork is installed, peering around the back of paintings to see what kind of system is used to get them to stay on the wall (I think it is an occupational hazard). Instead of looking at the artwork, I am studying how the frames are made.  It’s like with any relationship— it is hard to keep the mystery alive!


Artist Sean Riley, installing Christoper Russell’s Morning Glory with Bees at IAP


AJ: It seems that the audience and the art world will forever be entranced by the artist process. You compared your role as an artist to that of a magician who is asked to tell his audience how his tricks work; can you tell us a little bit more about how have you been able to navigate simply having your audience encounter your work versus having to explain the meaning behind it?

CR: When I am making something, I want it to be expressive— not that I necessarily want it to get across a particular message; but I want it to radiate, to beckon.  Part of what attracts a viewer is that sense of mystery, the promise of something to discover.   I really do think that too much explanation on my part only serves to spoil that mystery. It’s best when the work does the talking.


AJ: “After the Golden Age” was first exhibited at the Julie Saul Gallery in 2012. Originally consisting of 45 ceramic objects on a wooden pedestal designed for the installation, the exhibition of the work at IAP features several pieces from that display. The crowded still life objects, each individual and handmade, were inspired by art history and the decorative arts, sometimes loosely and sometimes quite specifically. Do you feel the concepts of artificiality and material value you explore in these pieces are amplified by the medium of ceramics? If yes, how so?

CR: I like translating precious materials into ceramic. Clay is thought of as being a lowly, humble material; so making precious things out of it, things like jewels or precious metals, is fun because it plays up the question of what is important about the particular material an object is made from.  I love silver work— so many amazing (even somewhat crazy) objects have been made with it over the centuries.  It has a particular vocabulary of shapes and detailing. It’s interesting to me to make that kind of a form in clay— both because it is a beautiful vocabulary, but also because it interesting to see what that vocabulary says when translated into a non precious medium; when the preciousness is stripped away.


After The Golden Age installed at Julie Saul Gallery, 2012


AJ: While you were describing your work on view at IAP, I became fascinated by the comparison you made between yourself as a maker and the inherent identity of the worker bees in “Beework: Hive”. Was this the first time you found yourself mirroring your subject matter in the work that you make?

CR: That was a funny thing, that as I got into making many bees over a long time, I began to feel like one of the bees working away at my task. It was sort of like the cereal box thing, when the guy on the box is holding a box with him on the box. I have done some self-portraits over the years, and I always find that as I work on a self-portrait I end up feeling like I am increasingly stuck in a loop: looking in the mirror, looking at my drawing, looking in the mirror again. Add into that the increasing awareness that you can never really see your own face— it can actually get a little spooky.

Drawing from life is mentally exhausting for me — looking, understanding, and translating something onto a flat page is really hard intellectual work. It hurts my eyes! Working in 3D makes a certain aspect of that translation unnecessary—drawing realistically is always illusionistic, but sculpting in 3D isn’t illusionistic in that same way.  So, for me, there is something less complicated about it. But it all demands that really hard part of looking and understanding your subject.


AJ: Watershed Center for the Ceramic Arts in North Edgecomb, Maine offers a variety of programs for artists from workshops and community firings to summer and fall residencies. We, like many ceramic artists, share the experience of having been resident artists there. When you mentioned how impactful Watershed Center for the Ceramic Arts was to you, I fondly remembered how amazing the space was for me as well. Would you describe your relationship with that particular residency?

CR: When I first went to Watershed, in 1990, I was still very much a painter and draughtsman. I was new to clay, and was a beginner both in my understanding of the material as a means of making art, and as a craftsman, as a technician. Three summers in a row I spent time at Watershed, and I learned so much, I really think of it as my graduate school experience. I was a lot younger then, and I worked like crazy, for hours and hours everyday. Being isolated there, with meals taken care of and no other obligations, I got really consumed by the project I did each summer. And I could ask the people around me about how to do things, and they would just tell me— I learned how to fire a kiln, how to make clay, how to make glazes… Along with that was the chance to be in that beautiful, rustic place.  Bats flew around the studio!  I was afraid of the dark when I got there. Learning to walk from the studio building back up to the sleeping hall, at 4 in the morning, in the dark with the stars out, I learned to love the dark, that feeling of being at peace in the night while knowing that all kinds of creatures were all around, doing their thing, just like you.


AJ: Your most recent residency was at ANTA in Fearn, Scotland. Could you tell us about this experience, and how residencies have shaped your work?

CR: The owners of ANTA, a wide ranging design firm based in the Scottish highlands, invited me to do a residency in their pottery workshop. I both did my own project and bounced around ideas about what they were doing. Again, it was an opportunity to get really focused. The ANTA workshops are in Fearn, a tiny village on a peninsula about 4 hours north of Edinburgh. It is extraordinarily beautiful there, a hybrid of farm land, seacoast and hills, with just amazing weather. From minute to minute the sky would change (I have never seen clouds like that) and when I arrived, being midsummer, it basically never got dark. Of course I had to do something that responded to such an environment, and I did so (perhaps perversely), by becoming pretty obsessed with the gazillions of snails that were around. They became my stand in for the whole environment.  Now I am back in New York City, and I am still making snails. A residency is always a good way to reboot, let’s say; to go to a new place and just ask yourself, “Ok, what do I want to do?”


AJ: You spoke to the director of Independent Art Projects, Martina Caruso, about your recent public art work in at Sunset Park, Brooklyn, NY. Can you tell us a little bit more about how this project’s commission came to you, as well as how working in bronze compared to working in ceramics?

CR: The MTA (Metropolitan Transportation Authority) has a whole department which works to bring art into the New York transportation system: Arts for Transit and Urban Design.  Through Percent for the Arts (the law that sets aside one percent of all public building budgets for artwork), they place site specific work in all the stations. My proposal was selected for the Sunset Park Station.  It is a greatly enlarged version of my much closer-to-life-size ceramic bees. I liked the beehive theme in the context of the station, which seemed to me to be very much like a hive, with people rushing in and out, going about their business.
I had not worked in bronze before I started the project.  I worked with a really good foundry, the Modern Art Foundry in Astoria, Queens. They made it possible for me to slip right in to the process. The big difference between my studio practice and working in the foundry is that foundry work is a group process, whereas my studio work is quite solitary. The whole scale of my studio work is largely determined by what I can do by myself.
At the foundry, there is a team of people at each step of the process, and it was often my job to tell people what I wanted instead of doing it myself. That is a very different skill.  But in some way I came to understand that a whole foundry is in some way another tool: in the same way that a brush or a knife is a tool, it is a means by which to get an artwork to exist. Just as there are skills involved in making art with a brush, there are skills necessary to use a foundry to make art. It was interesting to learn about that similarity.


Bees for Sunset Park, north gate detail, 9th Avenue MTA subway station, Sunset Park, Brooklyn, NY.


Christopher Russell studied at Wesleyan University and lives and works in New York. He has been a panelist for the Arts in Transit and Urban Design (New York, NY), a judge for the Scholastic Art and Writing Awards (New York, NY), and both resident artist as well as Advisory and Full Board Member at Watershed Center for the Ceramic Arts (North Edgecomb, ME). He recently completed a commission for the Metropolitan Transit Authority’s Arts for Transit who selected his design proposal for the 9th Avenue Brooklyn Station.

Alexandra Jelleberg is a Gallery Associate and Registrar for Ferrin Contemporary, and Artist Liaison for Independent Art Projects.

Contributions to this interview were made by Martina Caruso, Director of Independent Art Projects.

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Gallery Talk with Shuli Sade

Gallery Talk with Shuli Sade

Free and open to the public

Shuli Sadé is a New York based multi-disciplinary artist who works across a range of mediums: photography, video and installation. Sadéʼs often takes nighttime as a point of departure to define urban landscapes by light. Her images explore the boundaries of two-dimensional and three-dimensional art. She works with elements in space that are ethereal in nature: light, sound, movement, and arrested images. By merging these components of her work, she encourages her audiences’ involvement in a piece. Sadé is a recipient of the Pollock Krasner Foundation 2014, National Endowment for the Arts Visual Arts Fellowship, 1991, the New York Foundation for the Arts emergency grant, the Lower Manhattan Cultural Council NYC Department of Cultural Affairs Art Fund for video and sculpture and others.

On the occasion of her exhibition at Independent Art Projects, we invited Shuli to discuss the roles art and science play in her work. Discover the behind-the-scene of her installations, and where she’s headed next.

Her works are on view at IAP until Sunday, September 21, 2014.


[image: Shuli Sadé, City Codes 1, 2014 – courtesy of CYNTHIA-REEVES]
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Tanya Marcuse’s photographic sculptures

Tanya Marcuse’s photographic sculptures

Tanya Marcuse’s imaginative photographs possess the magic of teetering between plausible and implausible, life and death, and she has an undeniable signature style: a mix of dreamy romanticism and clinical exactness.

On the occasion of her exhibition at Independent Art Projects, we invited Tanya to discuss the role photography plays in her life, and where she’s headed next. Her exhibition at IAP is on view until September 25, 2014.


Martina Caruso: Tanya, we are here to see and talk about your “Fallen” series; can you talk a bit about how you arrived at this subject?

Tanya Marcuse: Fallen grew out of an earlier series called Fruitless (2005 – 2007), where I photographed fruit trees in the Hudson Valley in different seasons over many years. Each photograph focused on a single tree, occasionally surrounded by the fallen fruit that captivated me more fully in the next project.
I often photograph the same tree from the same vantage point in different seasons and years. I am riveted by the stunning transformations these trees undergo through the seasons, and the portrait-like individuality of each tree. Yet, I am also photographing these orchards because they are in danger of vanishing as the landscape of the region becomes more and more developed and open spaces and agricultural land diminishes. Most of these trees stand on land that is currently for sale.

Fruitless N¼1,  by Tanya Marcuse, 2005

Fruitless Nº 1, 2005
platinum/palladium print, 4 3/4 x 3 3/4″, pigment print, 50 x 40″


MC: When I look at the “Fallen” photographs I discover and get surprised by a new iconography and a new perception of natural elements, as well as symbolism. What concept is behind the project?

TM: Throughout the series I’m imagining the Garden of Eden after Adam and Eve have been kicked out and picturing a place where there’s a mixture of tremendous wildness, beauty, fecundity and decay. In Paradise, Adam and Eve would have been keeping the place in a sort of perfect order, but then after their transgression and departure everything becomes overgrown, wild. The fruit is unpicked, uneaten; it falls to the ground, floats downstream. Plums mix with apples, flower petals mix with fruit, animals with plants, and of course life mixes with death. There’s a blending together of the order and perfection of the Edenic landscape with a kind of chaos. That’s the conceptual foundation of the series.


MC: Can you tell us a little bit of the behind-the-scenes of the series? What is your photographic process like?

TM: My process is extremely intensive, obsessive, and sometimes quite fun. I have an extensive collection of props gathered from the natural world –snakes, birds, bats, turtles—all dead and frozen (I don’t kill them, I find them), apples in different stages of decay, milkweed pods, cicada carapaces and dragonfly wings. Sometimes I save leftovers from family meals—eggshells, for example—and sometimes I grow things, like Queen of the Night tulips, to use in my work. My kids bring me things for my collection—donations of bird skulls, dead turtles—and we have gone on family expeditions to nearby orchards to go rotten apple picking. What I love about having this collection, what it enables me to do, is to construct a tableau out in a found landscape of things in the natural world that would not logically concur. And I like this because it heightens the sense of tension between the plausible and the implausible, the natural and the unnatural, the living and the dying.

I photograph with a 4 x 5” view camera, using film, then scan the film and make digital pigment prints. I do all of my own printing, unless the scale exceeds my 44” wide printer.

Fallen, Nº 182, 29.5  x 38", 2011

Fallen Nº 182, 2011


MC: You worked with black and white small-scale prints, and now you are mastering larger format digitally produced pigment prints. What is your relationship with other photographic techniques and new media?

TM: Basically for each project that I work on, as the project evolves and the concept becomes clearer, the decisions about the object also become clearer. I like to be open to making work in new ways depending on the underlying conceptual needs of each project. I love this sense of challenge and adventure as my work has evolved over the years. On one hand, within individual projects, I like to create fairly tight constraints to work within, and on the other hand, I always want to be willing to challenge my methods and assumptions.

So, in Undergarments and Armor, a much earlier series, I wanted to create prints that were serial, intimate, very much like a catalogue, but I also wanted the prints to be extremely tactile and immediate, so that my choice of a 19th century printing process (platinum prints) was not one of nostalgia. It really had to do with the qualities of that object and how it related to the concept of the project.

I had never worked on such a large scale or printed color pigment prints on my own in the way that I have in my series Fallen, but I felt that the project demanded it. The scale had to be large enough to reveal the intensity of the detail and to provide an immersive experience for the viewer.

That is always the absolute crux of the decision of how to make something—the scale, whether its in color or black and white, whether the paper is glossy or matte, how green the green is—every decision has to do with the relationship between what it means and what it looks like.


MC: What are you working on now? What’s next?

TM: I like to have a few projects going at the same time—some more labor-intensive and long-term and others somewhat more whimsical and playful. I’m actually continuing my work on Fallen — I’m continuing to collect things and I’m planning some very large-scale pieces for that series. It’s moving in a slightly different direction — I’m photographing uprooted trees. I’m picturing the Tree of Knowledge and the Tree of Good and Evil fallen to the ground after the expulsion of Adam and Eve, with the root structure and underlying earth exposed. I like seeing under the earth. I’m also working on an ongoing project called “iFallen”, almost making fun of my own work, where I photograph objects that have fallen to the ground in different cities using my iPhone. So I’m still exploring the concept of “fallen-ness,” but using a different more vernacular photographic language, creating a kind of archive of non-fiction fallen-ness in the urban streets.


Question from the audience #1: From a sculpture point of view, I have to ask you, why you don’t save the sculpture you create for the shot?

TM: Great question. It’s good you asked because I don’t really consider the things that I make for the photographs to be sculptures. The reason why I don’t is because I feel that the things that I construct are made solely for the purposes of the photograph—you step 15 feet back and they look like a pile of leaves, and then there’s some kind of coming together, an ordering that happens through the lens of the view camera. I do construct the set first and then I begin looking through the camera’s lens—somehow that’s important to me. But the set is not significant in and of itself. I do, however, dismantle them and save and reuse as many of the parts as I can.


Question for the audience #2: How you handle collaborative work?

TM: That’s also a perfectly timed question because, in the coming month, my 17 year old daughter Eve and I are going to be working very intensively on a collaborative limited-edition artist’s book (still untitled) before she leaves for college. I’m culling small photographs from the larger works of Fallen—fragments of the images that isolate different elements of the iconography. Eve is working with text extracted from our 1958 set of Encyclopedia Britannicas creating shaped poems.
However, this is a rare instance of collaboration for me. I like to work alone, and when I’m photographing I don’t use assistants (other than my kids). When I go out and work, even when I’m hauling around my view camera and other gear, my props, and travelling miles into the woods to find a particular spot where I want to photograph, I do this in a solitary way.


Question from the audience #3: Would you describe yourself as an introvert or extrovert?

TM: I’m both. That’s why I like photography and that’s why I chose it as my art form when I was 17. I was one of those teenagers with a little too much in the emotional category. I was already drawn to art but photography just clicked for me because it had a built-in mediation and because it was looking out at the world. You’re looking in and you’re looking out at the same time. That’s why the medium has shaped my life, because it allows you to do that.
Tanya Marcuse earned her MFA from Yale. She has been awarded a Guggenheim fellowship among other honors, and her work is in the collections of the Metropolitan Museum of Art, the George Eastman House, the San Francisco Museum of Modern Art, the Corcoran Gallery of Art and the Yale Art Gallery. She is currently teaching photography at Bard College.

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Gallery Talk with Christopher Russell

Gallery Talk with Christopher Russell

Free and open to the public, with refreshment to follow.

On the occasion of his current exhibition at Independent Art Projects, Christopher Russell will talk about this unique style of ceramic sculpture. Russell has been working on a series of hyper-detailed, incredibly lifelike bee sculptures, including intricate section of beehives, bees on flowers, and large blowups of grains of pollen.He mostly uses traditional, labor-intensive manual techniques to sculpt the piers, often working from photographs or illustrations.

The artist will also talk about his recent project for MTA Arts for Transit and Urban Design, consisting of two sets of ornamental gates and a series of large finials on the fences surrounding the site. The work was commissioned as part of the renovation of the 9th Avenue Station, in Sunset Park, Brooklyn, N.Y.


[image: Christopher Russell, Beework: Hive, 2014 – courtesy of Julie Saul Gallery]
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Summer 2014: Gallery Talk & Exhibition Opening

Summer 2014: Gallery Talk & Exhibition Opening

Independent Art Projects Public Programs – August 2014

Gallery Talk with ceramic sculpture Christopher Russell
Saturday, August 16, 5 p.m.
1315 MASS MoCA Way, North Adams, Mass.
Free and open to the public; refreshments to follow.
On the occasion of his current exhibition at Independent Art Projects, Christopher Russell will talk about this unique style of ceramic sculpture. Russell has been working on a series of hyper-detailed, incredibly lifelike bee sculptures, including intricate section of beehives, bees on flowers, and large blowups of grains of pollen. He mostly uses traditional, labor-intensive manual techniques to sculpt the piers, often working from photographs or illustrations.
Christopher Russell is represented by Julie Saul Gallery, New York, N.Y.

Opening Reception for Robin Best
Thursday, August 28, 6–9 p.m.
in conjunction with DownStreet Art
1315 MASS MoCA Way, North Adams, Mass.
Free and open to the public.
The exquisitely painted ceramics of Robin Best merge art and science, East and West, modern and ancient. The Florida Vases were painted by Best on delicate, translucent porcelain vases hand-thrown by artisans using traditional methods in Jingdezhen, China.
Robin Best is represented by Ferrin Contemporary, Cummington, Mass.


Posted by admin in Press Releases


On Thursday, July 31, we welcomed artists, IAP participant galleries and the general public to Independent Art Project in North Adams for the opening reception of the new IAP summer exhibition, a group show about the representation of landscape, nature and still life through different contemporary art media.

The work of six artists (Tanya Marcuse, Christopher Russell, Sin-ying Ho, Steven Young Lee, and Shuli Sade) represented by galleries from New York and Western Massachusetts will be on display through Sunday, September 21.

See the full list of artists on view here.

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Artist Sin-ying Ho, and her gallerist Leslie Ferrin

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Gallerist Sienna Patti, and IAP Director Martina Caruso

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Attendees looking at Steven Young Lee’s ceramic installations

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Gallerist Julie Saul, and The Clark Art Institute Associate Director Tom Loughman

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CYNTHIA-REEVES staff, from L to R: Sara Mintz (Associate Director – New York), Azariah Aker (Associate Director – New England), Elisabeth Gordon (Corporate Art Advisor), and Jennifer Meyer (Corporate Art Advisor)

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Attendees looking at Sin-ying Ho’s vessels

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Berkshire Hills Internship Program (BHIP) interns

See the complete album of photos here.

All images © Tracey Eller.

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IAP in the Berkshire Week 07/2014

IAP in the Berkshire Week 07/2014

BERKSHIRE WEEK, July 31, 2014
Independent Art Projects opens tonight

Ten years ago, a private, commercial art gallery downtown was just a pipe dream.

But one of the Steeple City’s newest exhibition spaces, Independent Art Project, aims to make that dream a reality.

In the Massachusetts Museum of Contemporary Arts’ Building 13, owners Leslie Ferrin and Cynthia Reeves have opened the gallery as a collaborative project.

The 2,500 square-foot exhibition space, under the direction of curator Martina Caruso, will hold its grand opening today at 1315 Mass MoCA Way, while Downstreet Art fills the downtown with gallery openings and performances.

Ferrin and Reeves are both accomplished art curators in their own right — Ferrin is the director of Ferrin Contemporary of Cummington and co-owned Ferrin Gallery on North Street in Pittsfield; Reeves, like Ferrin, is involved in art projects across the country.

They also graduated from Hampshire College together, Reeves said, and have remained close ever since.

“[Leslie] reached out to me when she became aware of the opportunity to lease space from Mass MoCA,” she said. “The fact that it’s right on the museum’s campus is meaningful to me, especially because of the kinship I feel between our programming and the mission and programming of Mass MoCA.”

The museum has a large amount of site-based installation, she said, and IAP does as well.

“With both of us presenting multiple projects simultaneously in various locations in the U.S. and abroad, our programs can feed one another,” Ferrin said. “Establishing a base in the Berkshires provides our collectors and art professionals a place to see the artwork we represent in a public context.
Our artists and collectors enjoy visiting the many outstanding visual arts venues in the cultural corridor during the summer and, increasingly, year round. It is our hope that we can expand our audience and provide an opportunity for established contemporary artists to show works in a gallery setting.”
Reeves expressed similar sentiments, and said she picked up on “a wonderful energy” around Mass MoCA.

“They’ve really done something phenomenal there,” she said. “My sense is it’s really coming into its own … More and more [artists] are coming [to New England] because it’s a nice place to live … To me, that’s really exciting.”

The gallery has displayed works spanning both Eastern and Western artworks during its first month — it opened as part of Downstreet Art on June 26 with art by Lianghong Feng, Sin-Ying Ho and Sergei Isupov.

“With both of our galleries representing artists who live, work and show internationally, there will always be subject or content expressed in the art they produce exploring issues of cross cultures,” Ferrin said. “Our exhibitions and works shown will change regularly. Martina Caruso is looking at curatorial themes for the future that help make connections between the artists and their audiences.”

From July 31, IAP will present work by artists Tanya Marcuse and Christopher Russell, Shuli Sadé, Steven Young Lee. Works by Ho will remain until Thanksgiving.

Born in Hong Kong, Ho emmigrated to Canada in the 1990s and is now based in New York City. She has returned to China many times, she said.

She was struck by how the country has changed, she said. Much of her art speaks to the accelerated commerce and increase in consumer culture in China.

Two seven-foot vessels will be on display in North Adams: “One World, Many People No. 2” and “Temptation: Life of Goods No. 2.” She completed both in several sections in her New York studio.

“Temptation” combines floral motifs with the shape of a human figure. Inside the human outline are small circles with a square in the middle, representing Chinese currency. Inside each circle are numerous international brand name logos — Coca Cola, Chanel and Disney, to name a few.

She said she has a particular interest in what these symbols mean to her and how they connect to today’s society.

Click here to download and view the full article.

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