
Last month, my guy and I headed to the MFA on a Saturday (thank goodness for library passes). Both the permanent collection and the rotating exhibits there are stunning, and we love an occasional afternoon spent strolling among the art.
We spent most of our time in the New Light exhibit, which brings together new pieces and older artworks, placing them side by side and in conversation with one another. I saw more pieces than I can possibly tell you about here, but I was fascinated by the juxtaposition of art in different media, from different eras, telling different sides of a story or simply highlighting the various angles of a subject or topic.
There were paintings, of course, and sculptures, and mixed-media pieces made of textiles and paper and wood. There were pieces clearly inspired by other artists’ work, and a tiny scale model of a gallery that an artist had used to virtually showcase others’ pieces during the height of the pandemic. There was a sculpture of Fred Hampton’s door, a powerful piece calling attention to the brutality so often faced by Black Americans. There were detailed botanical drawings next to a piece by Lui Shtini that combined a recognizable flower with some fantastical elements. And there were a number of pieces that simply identified the artist as “Artist once known.”
That, perhaps, caught me more than anything else: a way to acknowledge the fact that artists unknown to us (many of them female, Indigenous or marginalized) were once known, and important, to their loved ones and communities. Someone knew this quilter, this painter, this sculptor, this folk artist who took such care to carve or draw or assemble a piece. Their identities, while maybe lost to us, are still important, and still vital to acknowledge. It brought those “unknown” artists a little closer to me, and reminded me that art is always saying something: it highlights beauty, records and analyzes events, calls out injustice, names and honors complicated emotions.
The neon sign above, which hangs in a different gallery of the MFA, reminds me of that, too: the museum encourages visitors to look, feel, talk, communicate, interact with the art. You don’t have to be an artist or an art historian to do any of those things, to engage with art on a human level. I’m grateful to the MFA for reminding me of that, in different and thought-provoking ways.
What local adventures are you having, this summer? How do you like to engage with visual art?