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The museum is currently closed. Reopening July, 2021
The Art Complex Museum is free and open to the public, located at 189 Alden Street in Duxbury, Massachusetts, 33 miles south of Boston.
Wednesday – Sunday: 1:00 – 4:00 PM
Closed Mondays and Tuesdays and National Holidays
Admission to all exhibitions is free.
The Art Complex Museum’s galleries are wheelchair accessible.
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It’s hard to visit the Art Complex Museum and not notice George Greenamyer’s sculpture, “Five Shaker Houses.” Its silhouette has become synonymous with the museum’s distinctive façade, having been added to grounds over 40 years ago and featured in iterations of the ACM’s logo.
The museum, still in its infancy, found Greenamyer’s sculpture particularly fitting because of its Shaker theme. The artist used the Shaker theme in several of his pieces and his interest in Shaker life dates back to his mid-20s. Initially attracted to the Shaker design elements of simplicity, purity and function, he soon became intrigued by their philosophy.
“Much of my inspiration comes from structural engineering, Shaker furniture, folk art, Jules Verne, Yankee tinkering, military hardware, architecture, and various visual utopias produced by naive artists.”
John Baker in Arts Magazine said of a similar Shaker-themed sculpture by Greenamyer that, “the houses are a representation of a social ideal, a utopian image of society’s dwellings sustained by the sublime industrial power that holds them aloft in the sculpture.” Five Shaker Houses expresses similar ideas and is modeled after the meetinghouse at Mt. Lebanon, New York.
Greenamyer studied at the Philadelphia Museum College of Art and the University of Kansas. The Head of the Sculpture Department at Mass College of Art, Greenamyer was a professor there for more than thirty years and also served as a Research Fellow at MIT, studying wind machines and investigating the kinetics of potential energy to mechanical energy.
George Greenamyer, United States, b. 1939, ”Five Shaker Houses,” 1976, steel sculpture
#artcomplexmusuem #georgegreenamyer #outdoorart #outdoorsculpture #steelsculpture #locamotive #shaker #massart #regionalnarrativesculpture ... See MoreSee Less
Meet local woodturner and retired surgeon Wally Kemp! Visit the website and go to the ACM@home page ( link in bio) to watch a video and read about this great guy!
#acmathome #MuseumFromHome #woodturner #woodturning #woodwork #craft #Tops #spinningtops #handmade ... See MoreSee Less
A virtual trip to the Catskill Mountains is definitely in order this fall! Hudson River School painters, particularly Sanford Gifford, were sensitive to the encroachment of human's on nature. In this early work, the artist’s evocative rendering of the Catskill scenery—the device of the dead tree suggesting the passage of time and the reverent feeling created through the absence of people or animals, except the lone bird—create a sense of solitude. Gifford maintained that “landscape painting was air painting,” underscoring his focus on the atmospheric subtleties in his works.
Sanford Robinson Gifford (American, 1823-1880),
"Solitude," 1848, oil on canvas
#sanfordrobinsongifford #americanpainting #hudsonriverschool #19thcenturypainting #americanlandscape #solitude #museumfromhome #artcomplexmuseum ... See MoreSee Less
Kamoda Shoji's work combines sculptural forms and dynamic surface decoration in ways that are striking and expressive. Kamoda lived and worked in Mashiko, Japan, incidentally the town that another Shoji, Hamada Shoji (1894-1978), influenced years earlier with pottery and the Mingei folk craft movement. Unlike Hamada Shoji’s utilitarian vessels, Kamoda’s work reveals a greater concern for form than function. They celebrate the individual’s aesthetic and are imparted with characteristics that feel both modern and ancient.
In 1972, Samuel C. Morse accompanied Carl A. Weyerhaeuser on a trip to Japan, during which Mr. Weyerhaeuser acquired a variety of ceramic work. The following year, Morse, along with another young professional, Louise Alison Cort, continued visiting potters in Japan, culling pieces for Weyerhaeuser's growing collection. At the time of recording this piece into the collection, it was one of Morse’s favorites in the bunch. In taking record of the piece he wrote:
“Kamoda has achieved in hand-built pieces something that cannot be imitated in thrown or molded shapes. Moreover, he has attempted to give some sort of form to pottery that is not in the tea ceremony tradition. Although the piece is functional and can be used for a vase in the tokonoma*, the shape itself breaks every convention.”
*Tokonoma is the alcove in a traditional Japanese tea house, which typically displays a scroll painting and vase with flowers.
Kamoda Shoji (Japan, 1933-1983), Vase, 1973, stoneware with glaze
#kamodashoji #mashikojapan #avantgardecaramics #modernjapaneseceramics #handbuilt #japaneseceramics #japanesepottery #70sceramics #studiopottery ... See MoreSee Less
Taniguchi Ryozo said his will to create is “to make the most of the material, attach importance to a shape and express feelings simply.”
A stunning blue bowl by Taniguchi numbers among the work selected for Carl A. Weyerhaeuser’s collection during one of two significant collecting trips across Japan. In 1972, Weyerhaeuser, accompanied by a young and enthusiastic Samuel C. Morse, visited potters at their kilns and their homes, assembling a breathtaking collection of Japanese ceramics along the way. Morse along with another young professional, Louise Allison Cort, returned to Japan the following year, collecting even more work on behalf of Mr. Weyerhaeuser. In records, Morse described Taniguchi’s appeal: “Taniguchi has a sense of beauty through nature. The designs of his work suit the disposition of the city people. They are simple, not over-designed.”
Both of Weyerhaeuser’s young associates went on to successful careers in art and history. Louise Allison Cort is Curator for Ceramics at the Freer Gallery of Art and Arthur M. Sackler Gallery at the Smithsonian Institution. Samuel C. Morse is Professor of the History of Art and Asian Languages and Civilizations at Amherst College.
Taniguchi Ryozo (Japan, 1926–1996), Large Decorative Bowl, 1971, glazed stoneware
Taniguchi Ryozo (at center), and Samuel Morse (at right)
#artcomplexmuseum #taniguchiryozo #japaneseceramics #japanesepottery #kyoto #stoneware #ceramics #provenance #modernjapanesecaramics #museumcollection #museumfromhome ... See MoreSee Less
☕️ Happy National Coffee Day!
🎨 Susan Jane Belton, “artcomplex.org,” 2007, oil on panel ... See MoreSee Less
Meet Olga Rothschild, rug hooker and former museum volunteer. Visit our website (link in bio) and go to the ACM @ Home page to see the article and video!
#MuseumFromHome#acmathome #rughookers #museumvolunteers #acminterveiws ... See MoreSee Less
High-energy painters make high-energy paintings! Here's another peek into Andrae Green's home studio in Springfield, Massachusetts.
#artcomplexmuseum #motivation #abstractart #expressionism #artiststudio #jamaicanart #wip #faith #MassArt #artcollectors #andraegreenstudios #contemporarypainting #africanamericanartists #massachusettsartist ... See MoreSee Less
Our Contemporary Curator has been slowly getting back to his regular studio visits . Paying a visit to painter Andrae Green in Springfield, Massachusetts was a great place to start!
#artcomplexmuseum #flight #flip #artistinthestudio #motivation #abstractart #expressionism #SeeingIsBelieving #MassArt #artcollectors #andraegreenstudios #contemporarypainting #africanamericanartists #massaschusettsartist ... See MoreSee Less