Through July 14, the Museum of Fine Arts will host "New Blue and White," an exhibition of contemporary pieces that celebrate the ancient, global tradition of blue and white ceramics. "New Blue and White" boasts incredible diversity in the media, themes and cultural influences of its works of art.
The use of the two colors in ceramics emerged in the Middle East over 1000 years ago, and has also had a strong presence in the Americas and Europe. The MFA's exhibition connects these old traditions with contemporary innovations, using pieces from artists all over the world. The pairing of blue and white can signify political power and has often been associated with the ruling class. Its omnipresence also has strong ties to memories, stories and traditions.
"New Blue and White" provides a calming, beautiful space for visitors to the MFA. There is something captivating yet relaxing about seeing the same two colors used over and over again, and this presentation allows the importance of this ancient contrast to sink in. The cross-cultural interaction among the pieces feels effortless given their common aesthetic theme. A massive, full-scale installation stands next to small, understated ceramic pots and vases; wood-soled wedges and other fashion pieces don't seem out of place next to abstract, esoteric creations.
The exhibit features "Yu Yu Blue" (2012), by Somerville artist Mark Cooper. It is an incredible example of organized chaos, with all sorts of media mashed up together in one cohesive piece. Cooper uses ceramic, wood, aqua resin, fiberglass, silkscreen on muslin, acrylic paint, metal brackets and rice paper with printing ink in this one installation. "Yu Yu Blue's" wooden supports crawl across the wall and rise from the cement floor like termite nests, with irregular blue and white ceramics covering its entirety. It's really a piece you have to see to understand.
Nestled in a corner along with the exhibition's other abstract pieces is "Work 0808" (2008) by Harumi Nakashima. This wacky use of glazed stoneware masterfully utilizes irregular, rounded geometric shapes that undulate into one another. Its base color is white with blue dots of different sizes painted all over its varying forms to bring out their volume. "Work 0808" is aggressively contemporary yet undeniably tied to tradition.
Another particularly interesting work featured is Steven Lee's "Vase with Landscape and Butterflies" (2012). Lee utilized porcelain and cobalt inlay, and was inspired by the European inlay traditions in his technique. The vase is highly asymmetrical and not exactly functional, with calculated cracks all over and a stem that looks like it is collapsing into itself. Like "Yu Yu Blue," Lee's piece exploits a sense of organized chaos that is eye-catching to observers.
Vipoo Srivilasa provides a fascinating, thought-provoking series of smaller ceramic pieces in "New Blue and White." All are "artifacts" he would like in his tomb after death. "Canopic Jar" (2012) was certainly a standout in the series. It is an odd little ceramic jar of cobalt pigment, porcelain, clear glaze and liquid gold. Its exterior has a haunting image of a brain, suggesting what he would like placed inside of it after his death.
"New Blue and White" is highly worth the visit, bringing to consciousness the sacred connection between these two colors in art. Still, the exhibit's lack of ancient blue and white pieces was somewhat disappointing. Obviously, the exhibit's purpose was to highlight contemporary artists, but "New Blue and White" would likely be more interesting if it included at least a few blue and white pieces from the MFA's collection of ancient art to provide context to the exhibit.
