My “Best Art(s) of 2011″ List

El Anatsui, Plot A Plan III, 2007. Aluminum and copper wire, 73 x 97 in. Photo courtesy: Jack Shainman Gallery.

El Anatsui: When I Last Wrote to You about Africa, Davis Museum and Cultural Center at Wellesley College. March 30 – June 26, 2011.

Organized by the Museum for African Art, New York, but premiered at the Davis Museum, this exhibition was my introduction to the work of El Anatsui, whose wall pieces exist somewhere in the realm of textile, sculpture and fashion. Everything I saw was inspiring.

SpiNN, Shazhia Sikander, Digital Animation. Courtesy of the Artist and Sikkema Jenkins & Co. New York.

Shazhia Sikander: The Exploding Company Man and Other Abstractions, Sandra and David Bakalar Gallery, Massachusetts College of Art and Design. September 19 – November 26, 2011.

Sikander explores many contemporary issues through an aesthetics that draws primarily from Indo-Persian miniature paintings. The title video work is a feast for the senses, resulting in an explosion of imagery, colors and textures that kept me returning week after week to see this exhibition.

Tristram Lansdowne, Hamburg Palimpsest 35 x 47 Watercolour on paper. Image Courtesy of the Artist.

Contained, curated by John Pyper, Mills Gallery, Boston Center for the Arts, March 18 – April 24, 2011.

There were many interesting works in this show that still resonate with me today. Matthew Woodward’s jaw dropping graphite on paper drawings of decorative iron gates and Matthew Best’s diary-like “Suburban Foraging Project” sketches of edible plants he encounters throughout his travels, were phenomenal in this show.

River Street Tower Still #16, Daniel Phillips, 2010

River Street, Daniel Phillips. Public Art Installation, Boston Cyberarts Festival, April 30, 2011.

A site specific installation in Hyde Park and installed on the former site of a paper mill, River Street is an exploration of “place memory.” Moments that vanish before our eyes were captured through the use of approximately 900 photographs a minute, creating a time lapse moving image of the crumbling paper mill and the flora and fauna that live in the heavily polluted Neponset River.

Raul Gonzalez, Wake up Call (On My Last Nerve), 2011 | Ink and Bic pen, 45 by 65 inches acrylic. Courtesy the artist and Carroll & Sons Gallery, Boston.

Close Distance, curated by Liz Munsell, Mills Gallery, Boston Center for the Arts. July 15 – August 28, 2011.

The works of six emerging Boston area Latino artists were richly presented in this exhibition that was as culturally diverse, and distinct as were the artistic practices of the artists in it. The works were engaging and provoking and Munsell’s juxtaposition of Daniela Rivera and Raul Gonzalez allowed for a riveting experience.

Still Life with Glasses and Tobacco, 1633 Willem Claesz. Heda (1594-1680), Oil on panel, 20 x 29 ¾ inches (50.8 x 75.6 cm), The Rose-Marie and Eijk van Otterloo Collection, Image courtesy Peabody Essex Museum.

Golden: Dutch and Flemish Masterworks from the Rose-Marie and Eijk van Otterloo Collection, Peabody Essex Museum. February 26 – June 19, 2011.

One of the most breathtaking and refreshing exhibitions of 2011. It was thrilling to see so many masterworks by the leading Dutch and Flemish artists of the 1600s including Rembrandt, Frans Hals and Jan van der Heyden among many others. The best part of the show was drooling over the details in the paintings using a magnifying glass provided by the museum.

Dance Hall Girl, Jennifer Steinkamp. 2004-11. Image courtesy of the artist.

Astatic, Sandra and David Bakalar Gallery, Massachusetts College of Art and Design. February 1 – March 5, 2011.

One of the sweetest surprises of 2011 was this exhibition at MassArt exploring the role of animation in contemporary art practice. Jennifer Steinkamp’s “Dance Hall Girl” had me smiling for days. Click on Dance Hall Girl to watch a short animation. Once you’ve finished watching the clip, you can hit “next” to view the additional works under “Dance Hall Girl.”

Prints and the Pursuit of Knowledge in Early Modern Europe, Harvard Art Museums. September 6 – December 10, 2011.

A mammoth of a show examining the scientific investigations of the 16th century through prints created by Northern Renaissance artists. An exhibition rich in scholarship, walking through it felt like a journey through time and space. Gorgeous.

Beg For Your Life, 2006, Laurel Nakadate

Laurel Nakadate: Say You Love Me, Carpenter Center for the Visual Arts, Harvard University. November 17 – December 22, 2011.

I love Laurel Nakadate. This eight video installation at the Carpenter Center hit all the right spots (no pun intended) with work that explores and pushes the boundaries of voyeurism, exhibitionism, and vulnerability. Most of the works were difficult to watch, but they all touched you in ways you never thought possible. Nakadate’s videos were moving, empathetic and funny.

Images of “For You I Feel Lucky” by Mark Sarver, Courtesy of Jessica Gath.

For You I Feel Lucky, Jessica Gath. The Hallway Gallery, Jamaica Plain. November 8, 2011.

A wonderful performance that lingered on until this very day. Click on the title for my review and be sure to check out Jessica at the DeCordova Biennial in 2012.

BONUS BEST OF 2011:

Lillian Bassman, The V-Back Evenings, Dress by Pauline Trigère, Model Suzy Parker, Harper's Bazaar, New York, July 1955. Courtesy of the artist.

Cocktail Culture: Ritual and Invention in American Fashion, 1920-1980, Museum of Art, Rhode Island School of Design. April 15 – July 31, 2011.

What’s not to love about an exhibition on the culture of cocktails and their role in American fashion? This dazzling show featured fashion, jewelry, furniture, barware, textiles, photography and film. If you missed it, you missed a great show! Or you can catch it at the Norton Museum of Art in West Palm Beach.

Review: River Street

Saturday May 1st, Daniel Phillips preparing for the installation of River Street (center)

A site specific installation in Hyde Park by Daniel Phillips, River Street fosters an enriching cross-cultural and multi-generational dialogue between people whose memories are encapsulated in the built environment and “outsiders” like me who might be interested in learning about the architectural, industrial, social and natural history of the site in its present state.

According to Dolores Hayden in The Power of Place, historic places help citizens define their public pasts and trigger social memory through the urban landscape. Hayden investigates the concept of “place memory” through philosopher Edward S. Casey’s formulation, in that place memory “encapsulates the human ability to connect with both the built and natural environments that are entwined in the cultural landscape.”

River Street is installed on the former site of what was until 2004, the oldest operating paper mill in North America. Built on the Hyde Park side of the heavily polluted Neponset River, the history of the Tileston-Hollingsworth Paper Company extends as far back as 1733.

Besides its social and industrial history, the site of the mill complex was architecturally significant until recent years when it succumbed to demolition’s wrecking ball. The firm of W. Cornell Appleton and Frank A. Stearns (Appleton & Stearns), and later members of the illustrious Boston architectural firm of Peabody & Stearns, designed an 1890 “handsome” Georgian Revival office building which is no longer extant. In its present state, the remaining scars resulting from the demolition of the site evoke a sense of loss and nostalgia of an era gone-by.

River Street is a multi channel video projection composed of thousands of photographic stills shot on site by Daniel Phillips. For every one and a half minutes of video, it is estimated that approximately 900 photographs are used to create a time lapse moving image. Each photograph captures the passage of time, the crumbling death of the last remaining buildings on site and the slowly renewing life of the Neponset River Reservation. Projected on the loading bays of a dilapidated water pumping station, River Street triggers our memory by capturing those moments that vanish before our eyes. Moments like ice melting from the branches of trees or the rhythmic flow of the river or the transient life of the graffiti in the area, allow us to visually connect the past with the present.

A collaboration between the artist Daniel Phillips and Finnard Properties; the current owners and developers of the site, this one night installation of River Street was presented in conjunction withthe Boston Cyberarts Festival. The installation on Saturday April 30 attracted many members from the Hyde Park and Dorchester communities. “It was wonderful, breathtaking, unbelievable” says Adrian of Hyde Park, “This is my community, of course I had to be here tonight.”

River Street Tower Still #16, Daniel Phillips, 2010

River Street Tower Still #16, Daniel Phillips, 2010