Located at 189 Alden Street in Duxbury, Massachusetts, 33 miles south of Boston.
Museum is currently closed. Reopening July 2021.
Admission to all exhibitions is free.
Museum’s galleries are wheelchair accessible.
From Boston, Route 3 South to exit 11. Turn right on Route 14 East. Two miles to first traffic light at Route 3A. Turn right, Alden Street is first left.
When we return to the ACM in 2021 things are going to look a little different. We can't wait to see you again!
#artcomplexmuseum #museum #projects #improvements #design #engineering #behindthescenes #MuseumFromHome #50thanniversary #acmat50
This bench by @kristinebrennen was on site, at the ACM, since 2008, when it was featured in an exhibition of the artist's outdoor sculpture.
While this piece was was recently returned to the artist after its over 10 year long visit, another stone bench by Brennen belongs to the museum's permanent collection and will remain on site.
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Kristine Brennen, "Contented," 2008
#calm #autumn #leaves #artcomplexmuseum #stonebench #outdoorart #design #contemporarysculpture #museumfromhome
⚒️💥 There's a lot of deconstruction happening before the reconstruction can begin.
#artcomplexmusuem #musuem #projects #curbappeal #g2_collaborative
Our parking lot is now the staging area for all the work that is beginning to happen as projects indoors and out begin to ramp up.
#artcomplexmuseum #g2_collaborative #behindthescenes #museum #projects #design #50thanniversary #acmat50
🍂🍁 Well-before "leaf peeping" as it is known today, 19th century American landscape painters recorded, in oil paint, the rich seasonal pallets of the North East United States.
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🎨Jasper Francis Cropsey (1823-1900), "Landscape, New York," 1890, oil on canvas
#19thcentury #americanpainting #oilpainting #jasperfranciscropsey #cropsey #newyork #autumn #changingleaves #leafpeeping #color #seasonsgreetings #landscapepainting#artcomplexmusuem #museumfromhome
where is it now?
dimensions?
✨ It's always exciting to see works come back after receiving expert treatment at @wacc_aacc_conservation! This painting by Thomas Moran is one of a handful of American paintings from the permanent collection selected for conservation treatment last year.
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Thomas Moran (1837-1926), "Near East Hampton, Long Island, New York," 1878, oil on canvas
#americanpainting #conservation #oilpainting #thomasmoran #longislandnewyork #landscapepainting #wacc #artcomplexmusuem #museumfromhome
William Sergeant Kendall (1869-1938) specialized in painting his daughters Elizabeth and Polly as well as his wife. The artist enrolled in the Brooklyn Art Guild when he was fourteen years old. Thomas Eakins became his first teacher and had a lasting influence on his choice of subjects.
When Eakins returned to the Pennsylvania Academy of the Fine Arts in 1884, Kendall followed him. In a letter he wrote his parents in 1885, Kendall remarked, "Eakins came in today and criticized my work. He said my work 'was not bad' which as you know is good praise for him!" While in Paris, Kendall exhibited in the Paris Salon of 1891 and received an honorary mention. Since acceptance at the Salon was the premiere standard of success, the award brought him recognition and letters of congratulation from American collectors.
Kendall married Margaret Stickney in 1896 after moving into a studio in Washington Square in New York. Upon the birth of his first daughter, Elizabeth, Kendall began to explore what became his primary subject matter, his family.
William Sergeant Kendall (1869-1938), Portrait of Elizabeth and Polly, 98.09
All Aboard! Fine art photographer John Polak focuses his lens on the iconic sculpture, "Five Shaker Houses" by American artist George Greenamyer. Its silhouette has become synonymous with the museum’s distinctive façade, having been installed on the Art Complex grounds over 40 years ago. Greenamyer’s sculpture is particularly appropriate given its Shaker theme and the numerous Shaker objects in the museum's permanent collection.
George Greenamyer, United States, b. 1939, ”Five Shaker Houses,” 1976, steel sculpture
Maria Martinez’s skill as a traditional Pueblo potter was recognized from an early age and her mastery over the craft came to be widely recognized. While assisting at an archaeological dig at Frijoles Canyon, a site once populated by the Anasazis, thought to be ancestors of the Pueblo, Martinez was tasked by the site’s director, archaeologist, Edgar Lee Hewitt, to replicate the designs they had excavated.
In close collaboration with her husband, painter, Julian Martinez (1885-1943), the couple pursed the challenge. In 1919, after close observation and experimentation, the two had conceived of a process of making the polished black-on-black pottery for which they are known today. Maria coil-built her pots and hand-polished the black surface to achieve the characteristic luster, which contrasted the velvety black finish of areas painted by her husband.
María Montoya Martínez, San Ildefonso Pueblo, New Mexico, 1887-1980, Jar, ca. 1940, polished blackware, from the collection of Leland and Paula Wyman
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#artcomplexmusuem #museumfromhome #lelandandpaulawymancollection #polishedblackware #mariamontoyamartinez #pueblopottery #tradition #coilbuilt #pottery
