Dialogue in wood

“Wall Cabinet #3” ( Karelian birch burl, block mottled anigre, madrone burl, genuine mahogany, cherry), by Mark Del Guidice, in his show :”Lost in the Woods,’’ at the Fitchburg (Mass.) Art Museum June 21-Sept. 8

—Photo courtesy of the artist.

The museum says (this is edited):

“Mark Del Guidice lives in Concord, Mass., and maintains a studio in Stow, Mass. He is a long-time participant in the American Studio Furniture Movement, creating one-of-a-kind artworks that meld the expressive potential of contemporary sculpture, the artisanal craft of woodworking, and the functionality of furniture. His aesthetic is grounded in the juxtaposition of diverse woods and surface treatments, a dialogue between two- and three-dimensional elements, and curved forms inspired by nature. All of his artworks include carved surface elements – a system of hieroglyphs that are both symbolically personal, and evocative for viewers.’’

Stow, Mass., town center, with the Randall Library.

— Photos by Tim Pierce

‘Protection and service’

“Freedom Arrows” (arrows, feathers (mostly turkey), wood, paint, metals, brass, beads, leather plastic, twine, acrylic paint, bone, human hair, stone, arrow heads), by Ari Montford, at the Fitchburg (Mass.) Art Museum, through June 2.

—Image courtesy of the artist

The museum says that the work “amplifies the arrow’s symbolism as tool, weapon, and message to explore Indigenous Black themes through the lens of the Native American experience of genocide. Within the museum lobby, a volley of hand-beaded arrows is suspended midair (as if just unleashed from unseen bows) and embedded in the walls. Dual concepts of protection and service, aggression and power blend with the arrows’ spiritual presence to create a space that provokes conversation about racial justice and narrative-making. Montford’s installation engages with the impact of structural racism, Indigenous trauma, and the process of creating safe spaces for restorative justice through their own voice as a Black Two Spirit Indigenous cultural practitioner.’’

In the protest age

“Smash Communism: Boston Common 1969),’’ by Southborough, Mass.-based multi-disciplinary artist Joe Landry, in the show “Capital Vice: Politics of the Seven Deadly Sins,’’ at the Fitchburg (Mass.) Art Museum, through Jan. 14.

Fitchburg in 1882, when it was a thriving diversified manufacturing center.

In the center of Southborough.

This illustration depicts the execution of Ann Hibbins on Boston Common for witchcraft in 1656.

Near the Arctic Circle, year-round outdoor swimming

“The Blue Lagoon, Svartsengi Geothermal Pumping Station, Iceland” (1988, chromogenic print), by Laura McPhee at the Fitchburg (Mass.) Art Museum.

Downtown Fitchburg seen from the south, looking toward New Hampshire mountains. From the 19th to the first half of the 20th Century the city was an industrial center, especially for paper making.

— Photo by Nick Allen

Fun in Fitchburg when we need it

“Untitled (Balloons) Coney Island, Brooklyn, NYC” (Kodak Endura metallic print), by Ruben Natal-San Miguel, in the show “The BIG Picture: Giant Photographs and Powerful Portfolios,’’ at the Fitchburg (Mass.) Art Museum, through June 6.

The museum says: “Discover exciting recent acquisitions to the Fitchburg Art Museum’s growing collection of photography: from huge digital color prints to portfolios of related works by innovative contemporary artists.’’

Fitchburg, in north-central Massachusetts, in its industrial heyday. Originally powered by water power from the Nashua River, large factories produced machines, tools, clothing, paper and guns. The city is noted for its architecture, particularly in the Victorian style, built at the height of its mill town prosperity. A few examples: the Fay Club, the old North Worcester County Courthouse and the Bullock House.

For a small city, the Fitchburg Art Museum has a remarkably rich collection and many exciting events.

'Labored Landscapes'

— Photo by Charles Sternaimolo

“Labored Landscapes (where hand meets ground)’’ (installation view), by Daniela Riviera, in her show at the Fitchburg (Mass.) Art Museum, through Jan. 12.

Left, “Donde el cielo toca la tierra #2” [“Where the Sky Touches the Earth #2”], 2019, oil on canvas, 12" x 30". Center: “Donde el cielo toca la tierra #1 “ {“Where the Sky Touches the Earth #1’’} 2019, oil on canvas, 12" x 20". Right: “Donde el cielo toca la tierra #3” [“Where the Sky Touches the Earth #3”] 2019, oil on canvas, 12" x 30".

The museum says:

{The show} “reflects on the relationship of labor, environment and cultural heritage. Explore innovative and immersive work that challenges traditional ideas of painting and drawing, as they relate to architecture and the viewer's body.’’

— Print of Fitchburg from 1882 by L.R. Burleigh with listing of landmarks

Fitchburg grew rapidly in the 19th Century as an industrial center, as did many New England communities. Importantly, the Nashua River runs through the city. Originally run by water power, large mills produced machines, tools, clothing, paper and firearms. The city is still known for its architecture, particularly in the Victorian style, built at the height of its mill town prosperity. A few examples: The Fay Club, the old North Worcester County Courthouse and the Bullock House.

'Fire and Light' in Fitchburg

“Plusquamperfect’’ (‘‘Past Perfect Participle’’) ( oil and fire on canvas), in the show “Fire and Light: Otto Piene in Groton, 1983-2014,’’ at the Fitchburg Art Museum, Feb. 9-June 2.

— Photograph © Ante Glibota.

The gallery says:

“‘Fire and Light’ presents the work of the late internationally renowned artist, Otto Piene (1928-2014) , focusing on artworks created when the German-borne artist lived in Groton, Mass.

“Piene's relentless exploration of light, fire and air led to groundbreaking achievements in art and technology. ‘Fire and Light’ offers a rare opportunity for visitors to experience Piene's immersive artworks and contemplate Piene's vision and practice.’’

'People Watching: Then and Now'

 "Mrs. Charles McEvers  Verplanck'' (1771, oil on canvas), by John Singleton Copley; "Figure, Looking #2, by Susan White Brown, in the show "People Watching: Then and Now,'' at the Fitchburg (Mass.) Art Museum, Sept. 24-Jan. 14.

(Editor's note: The picture of the young man was misidentified in earlier editions as a photo rather than as a painting.)

The curator writes: "This exhibition contains portraits painted in various time periods by numerous different artists, from African sculptors to eighteenth-century Western painters to thirteen contemporary New England artists. The works not only reveal the role of portraiture throughout the years, but reveal pieces of history and human nature itself.''

A certain look at nature

"Hitched'' (after Desportes and Handecoeter), by Shelly Reed, in her show "A Curious Nature,'' at the Fitchburg Art Museum, through June 4.

The museum says :"With artworks spanning from a decade ago to works that have never been seen by the public, 'A Curious Nature' provides viewers with insight into the artist and her transformation throughout the years. The exhibition features a variety of works, including black and white canvasses  (e.g., above) and oil on paper. Her subject matter ranges from large scale scenes with animal and botanical details and more intimate portraits. ...Reed also includes several predator/prey images, detailing the stalking, contemplation, and attacking of these beings while encouraging the audience to contemplate who is watching whom both in the artworks themselves and the inspiration.''

Anything to get to America

 

"The Steerage,'' photo by ALFRED STEIGLITZ, in the show "Photography at the Fitchburg Art Museum,'' through next summer.