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The Massachusetts Museum of Contemporary Art (MASS MoCA) occupies a converted factory building complex occupying 13-acres in North Adams, Massachusetts. It is one of the largest centers for contemporary visual art in the United States. The complex was originally built by the Arnold Print Works, which operated on the site from 1860 to 1942. MASS MoCA opened in 1999 with 19 galleries and 100,000 sq ft (9,300 m2) of exhibition space. It is large enough to put on exhibitions in individual buildings for extended periods - a Sol Lewitt building has five stories full of work conceived by him (and executed by others) on display until 2033; another building contains three large-scale installations by Anself Keifer on display until 2028.
The Boiler Room is one of the buidlings and when I was there it contained an installation of audio art. And old boiler room stuff that was highly photogenic.
Mosaik "Frieden", Walter Womacka, 1988. Wohnbebauung Marzahner Promenade, Franz-Stenzer-Straße, Wohngebiet 3, Berlin-Marzahn, Plattenbau-Typ WBS-70, Wilfried Stallknecht, Achim Felz
Marcel Duchamp (alias Rrose Sélavy), Fresh Widow, 1920-64, Bois peint, cuir, 79,2 x 53,3 x 10,2 cm (fenêtre 77,3 x 45 x 2 cm, tablette 1,9 x 53,3 x 10,2 cm), Solomon R. Guggenheim Foundation, Venezia
Altro titolo - Another title: Readymades, i.e. Replicas for mass tourism, 2025
[Fototeca Fondazione Omeri]
sites.google.com/view/fabioomero/home
www.centrepompidou.fr/fr/ressources/oeuvre/c7pEgBe
www.moma.org/collection/works/81028
Jean-Michel Basquiat’s art pulses with kinetic energy, racial commentary, and an unfiltered emotional core, and this piece captures all of that in explosive color and form. The crowned figure at the center, rendered with skeletal intensity, stands like a defiant deity—part man, part myth, perhaps even martyr. Arms outstretched and teeth bared, the figure emanates an arresting presence, grounded yet transcendent, signaling Basquiat’s obsession with identity, power, and resistance.
To the left, a barking dog joins the chaos, drawn with wild eyes, bared teeth, and slashing limbs. This dog is no loyal companion; it’s a street animal, part witness and part warning. Basquiat often used dogs as avatars of danger, fear, and unheeded warning. This one howls not for attention, but to pierce silence. It’s an alarm—social, racial, existential.
The palette is urgent: electric reds, caustic oranges, deep blacks, sky blues. Basquiat painted quickly and intuitively, using color like sound in a punk solo. His backgrounds are never passive; they’re always on fire with motion. The yellow flare to the right and the turquoise swathe to the left wrestle for dominance, like a storm building and retreating at once.
Underneath the chaos lies precision. Basquiat wasn’t simply reacting—he was composing. The figure’s outline echoes anatomical diagrams, and the dog is stylized like cave painting fused with graffiti. There’s a haunting halo in red that hovers above the canine’s head, and scribbled forms around the figure hint at mechanical prosthetics or systems of control. It’s as if Basquiat is dissecting not just the body, but the state—mapping the forces that act upon us, break us, try to rewire us.
You can see his fingerprints in the drips, the overlays, the brushstrokes that go over the lines like a correction or a refusal to be corrected. It’s improvisation and resistance at once. And in the context of Banksy's later homage, the significance doubles. This isn’t just a painting—it’s a blueprint of rebellion.
Displayed against a matte gallery wall, the piece demands confrontation. Its rawness doesn’t fade under gallery lights; it intensifies. Even protected behind stanchions, the figure still confronts viewers head-on. It does not look away. And neither can you.
Basquiat, a Black artist operating in the predominantly white New York art world of the 1980s, used paintings like this to assert identity and agency in a space that often sought to tokenize him. Now, decades later, this image resonates across generations, inspiring artists like Banksy and challenging audiences to reckon with power, voice, and erasure.
Whether encountered for the first time or the hundredth, this painting stings with relevance. It’s graffiti elevated to gospel, the streets translated to canvas without compromise. It’s Basquiat in his full, brutal glory.
Miss Cecily's work is from her Arizona Ballet Theatre studios in Tucson Arizona in 2014. Andy Warhole's work is from his studio in 1962.
Personally, I prefer ballet dancers to soup cans...
Of course, I do understand that de gustabus, non disputandum est...
Diego Rodríguez de Silva y Velázquez, Las meninas, 1656, Óleo sobre lienzo, 320,5 x 281,5 [320,5] cm, Museo Nacional del Prado, Madrid, España
Altro titolo - Another title: ¿Autorretrato del retratista o retrato del casero?
[Fototeca Fondazione Omeri]
sites.google.com/view/fabioomero/artists/v
www.museodelprado.es/en/aprende/enciclopedia/voz/meninas-...
Egon Schiele, Hafen von Triëst, 1907, Oil and pencil on card, 25 x 18 [25] cm, Private Collection
Sophie Tauber Arp, Composition à rectangles et cercles [I] (Composition with rectangles and circles [I]), 1931, Ink, gouache, watercolor, pencil and opaque whitecorrections on paper, 20.5 x 27.4 cm / 8 1/8 x 10 3/4 in, Private collection
[Fototeca Fondazione Omeri]
Claes Oldenburg, Two Cheeseburgers with Everything (Dual Hamburgers), 1962 [2024], Burlap soaked in plaster painted with enamel [Sandwiches, hamburgers, cheese, tomato, lettuce, onion and cucumbers], 7 x 14 3/4 x 8 5/8 in - 17.8 x 37.5 x 21.8 cm, MoMa, New York
Publication excerpt from MoMA: Two Cheeseburgers is a testament to Oldenburg’s ingenuity as a sculptor and his penchant for infusing work with witty and occasionally dark humor.
Altro titolo - Another title: Translation of ingenuity = ingegnosità, ingegno e ingenuità
[Fototeca Fondazione Omeri]
Johannes Vermeer, Gezicht op huizen in Delft, bekend als 'Het straatje' (View of Houses in Delft, Known as 'The Little Street'), c. 1658, Olieverf op doek (Oil on canvas), 54.3 x 44 [54,3] x 9 cm, Rijksmuseum, Amsterdam
Altro titolo - Another title: Relative (or) Superlative ?
[Fototeca Fondazione Omeri]
The Massachusetts Museum of Contemporary Art (MASS MoCA) occupies a converted factory building complex occupying 13-acres in North Adams, Massachusetts. It is one of the largest centers for contemporary visual art in the United States. The complex was originally built by the Arnold Print Works, which operated on the site from 1860 to 1942. MASS MoCA opened in 1999 with 19 galleries and 100,000 sq ft (9,300 m2) of exhibition space. It is large enough to put on exhibitions in individual buildings for extended periods - a Sol Lewitt building has five stories full of work conceived by him (and executed by others) on display until 2033; another building contains three large-scale installations by Anself Keifer on display until 2028.
The Boiler Room is one of the buidlings and when I was there it contained an installation of audio art. And old boiler room stuff that was highly photogenic.
Ben Vautier, L'art est inutile, 1967, Acrylique sur bois, 50 x 50 cm, Collection Henriette et Claude Viallat en dépôt à Carré d'Art - Musée d’Art contemporain, Nîmes
Altro titolo - Another title: Le grenier de Vivi [L'art est inutile], 2024
[Fototeca Fondazione Omeri]
3.25x2.375x1.125” mixed media collage jewelry/gift box.
www.etsy.com/listing/512804396/handmade-collage-giftjewel...
Félix González-Torres, Untitled, 1991
Altro titolo - Another title: Infection can be prevented, not always stigma and idiocy, 2024
René Magritte, La belle captive, ca 1950, Oil on canvas [Gilt wooden frame], 11 7/8 x 15¾ in - 30.2 x 40 cm, Private collection
Altro titolo - Another title: Aperta finestra est ex qua historia contueatur (Leon Battista Alberti, De pictura, 1435-36): Simply walls, 2024
[Fototeca Fondazione Omeri]