The original photograph is also blown-up, plastered onto a freestanding wall in front of the sculptures, with holes cut out to view the sculptures through. He then contracted a fabricator in Nanjing (hometown of the workers photographed) to make scale models of the amorphous particles in shimmering stainless steel à la Anish Kapoor/Jeff Koons, which are now displayed in the gallery. Bringing these pictures to New York, he used an electron microscope to generate 3D images of two of the trillions of silver particles suspended in the egg whites. 1875)’, 2008, Starling began with two, late 19th century, albumen prints of Chinese workers posing outside of the Sampson Shoe Company, a factory located on what is now the museum. Sampson’s Shoe Manufactory, with the Chinese Shoemakers in Working Costume, ca. In the first, ‘The Nanjing Particles (After Henry Ward, View of C.T. Recent exhibitions there have featured Jenny Holzer projections, a Cai Guo Qiang car crash sequence, and an eerie Carsten Höller amusement park.Ĭurrently occupying this massive space are two pieces by the comparably unspectacular Simon Starling. Of the 26 separate buildings, which used to constitute the Sprague Electric Factory, is MASS MoCA’s Building 5, a single 300-foot long gallery reminiscent of Tate Modern’s Turbine Hall. Metal Frame – Wausau Custom Alumninum WindowsĤ.The Massachusetts Museum of Contemporary Art is completely out of place: international contemporary art set in a remote postindustrial mill town among the Western Massachusetts’ foothills. New galleries are sculpted from the bones of a former factory building, and complete the third and final phase of the Architect’s 25-year museum master plan-which transformed a 28-building factory campus that closed in the 1980s.Ģ. Just as mills mediated between the scale of their equipment and that of the workers, MASS MoCA’s spaces are large, but paradoxically reflect and retain a human dimension.īuilding 6 expands MASS MoCA, adding 120,000 square feet of gallery space. New stairs, structural frames, and walls are woven into the existing fabric and detailed at the same scale and weight. Bricks, beams, columns, muntins, and patina are the icons in the building vocabulary-old and new. Space, light, time, rhythm, and especially scale, are major design drivers. Open spaces between these internal museums create new galleries for changing and experimental pieces. Each gallery hosts long-term exhibitions, dedicated to accomplished artists working in a variety of media: Turrell, Holzer, Bourgeois, and Rauschenberg. The galleries are designed as a series of “museums within the museum,” all set into an industrial landscape of three one-acre floorplates. MASS MoCA retains what is historic, provides an exciting way to use the new, and culminates in a single new piece that is both old and new at the same time-a combined work. The original building remains legible-giving scale, context, and history-but has been thoroughly transformed for its new life as a museum. Existing spaces are edited, sculpting a two-story glass-roofed central core, a lounge at the museum’s “prow,” and two-story openings for art and visual connections. Design interventions weave in and out of over one thousand columns, hundreds of windows, and acres of maple factory floor. MASS MoCA’s Building 6 is a new museum made from found buildings where the spectacular interiors of existing mill structures become a three-dimensional underpainting for new, impactful contemporary art galleries.
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