A few weeks ago we took over the Williams College of Art’s quarterly night event – WCMA at Night. We had an incredible time, and loved working with their team. One of the guests, Kate Abbott, wrote a great article about her experience. We thought it was very well written, and wanted to share it.
If I want people to feel connected to my work, I don’t give them meaninglessness. That’s exactly the arrogant, distancing tactic he disliked. I would give people something in the work to think or feel. I would give them something that meant something to me. In fact, I would want to give them what the Museum Hack team were giving me in their stories and games and music — and sheer excitement.
It felt good to laugh and banter with hashtags, and to have a lithe woman with dancing eyes and a you’ve-got-to-see-this excitement pull the group over to a miniature scene. I am still baffled by Franz West’s work, but I will remember the glimpse of him as a scared boy in a dingy hallway. And I’ll remember even more William Michael Harnett painting onions and a wooden pipe with a cream and amber bowl on a table top in Munich next to a folded copy of the Deutche Presse 1882. He painted with a photographic precision in the days when impressionism was hot. No wonder he liked newspapers.
The enthusiasm among these intelligent, laughing people filled the museum. And it gave me ways to slow down and absorb the artwork.
In Fathi Hassan’s exhibit, paintings on paper glow with writing, black against white, gold against black, filling and forming shapes of distant hills, water falling over high barriers, a crescent moon.
-Kate Abbott, writer for the Berkshire Eagle
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