Behind the Controversy: Dana Schutz at the ICA

Late July brought an unexpected amount of controversy in the Boston contemporary art world when the Institute of Contemporary Art, Boston opened their second summer exhibition covering a decade of work by painter Dana Schutz. Here’s everything you need to know about the artist, the exhibition, and why it has sparked national attention:


Big Wave (2016). Courtesy of The Institute of Contemporary Art, Boston

Big Wave (2016). Courtesy of The Institute of Contemporary Art, Boston

Dana Schutz is a prominent American painter whose work combines abstract and figurative styles in vibrant colors. Her paintings are expressive and often uncomfortable. She stretches and twists the emotional content of her work the same way she distorts her depiction of human face and figure, presenting reflections of self, history, and society in a way that disquiets the viewer. Her pieces are packed tight with visual information, denying the eye any moment of respite. She crams complex narratives into her paintings with a technique that makes even the massive scale of her larger canvases feel claustrophobic. Her work is confrontational by nature: violent moments of tension or conflict in paintings such as Fight in an Elevator (2015) and Big Wave (2016); scenes that are physically impossible but emotionally true in work like Swimming, Smoking, Crying (2009) and Building the Boat While Sailing (2012); candid depictions of intimacy, in pieces like Shaking Out the Bed (2015) and Slow Motion Shower (2015) . There is an authentic note of struggle and chaos in every piece, both in its content and style.


Shaking Out the Bed (2015)

Shaking Out the Bed (2015)

The Dana Schutz exhibition currently on view at the ICA is a retrospective of the past decade of her work. The exhibition showcases the impressive scale of some of her paintings, and her ability to weave intricate stories in a single image. Many of the pieces are accompanied by a short description that reveals and contextualizes the concepts behind it. The exhibition occupies three galleries. Each doorway opens to a massive painting, providing enough space to see the work from a distance. The juxtaposition of the smaller paintings on the walls flanking the opening allows the viewer to easily compare the different sized work, emphasizing the artist’s ability to consistently effect a loaded visual impact regardless of scale.


Schutz’s unflinching insistence on discomforting her audience brought forth controversy during the 2017 Whitney Biennial. The offending painting, Open Casket, was based on a photograph of Emmett Till, an African-American boy lynched in the 1950s for allegedly flirting with a white woman—an accusation which was later admitted to be false. Till was 14 at the time. As implied by the title, the photograph Schutz chose as a basis for her painting was one from his funeral. His mother insisted on an open casket to display the brutality of his murder. The painting was met with immense outrage, especially within the Black community, from those who considered it an appropriation of Black struggle by a white woman who does not have the authority to utilize this ongoing injustice in her work. The issue has been divisive between those who consider the painting exploitative and those who consider its removal to be a censorship. The painting is not included in the ICA’s exhibition.


In response to the ICA’s decision to move forward with an exhibition of Dana Schutz’s work following the Whitney controversy sparked a slew of protests demanding that the ICA cancel the show. In response, the ICA invited open conversation on the issue by scheduling a meeting with community representatives to discuss the implications of the exhibition. After the conclusion of this meeting, the ICA and its Chief Curator, Eva Respini, and Director, Jill Medvedow, decided to move forward with the exhibition while continuing dialogue about the underlying controversy. While grateful to the ICA for extending the meeting, those opposing the exhibition found it an inadequate response to the issues raised, criticizing the ICA for condoning the action on an institutional level by allowing the show to continue.


Supporters of Dana Shutz’s work remaining on view believe that taking down her exhibition would be an act of artistic censorship. In an open letter signed by 78 members of the National Academy, a society of famous artists, they expressed that cancelling the ICA exhibition, which does not include Open Casket, would promote the suppression of diverse artistic perspectives. Respini maintains that Open Casket was never meant to be in the exhibition, which was always meant to focus on her more imaginative scenes.

Regardless of where we stand on the controversy, it is our responsibility as supporters of the arts to remain informed about the conversations incited by the community – the function of compelling contemporary art is to create cultural dialogue.

Dana Schutz is exhibiting at the ICA through November 28, 2017.

Studio to Show: Artist Selection

Untitled 001, 2017 (detail) Lavaughan Jenkins Oil paint, modeling paste, with wire and plaster armature 12 x 6 x 5 in.

Untitled 001, 2017 (detail)
Lavaughan Jenkins
Oil paint, modeling paste, with wire and plaster armature
12 x 6 x 5 in.

One of the biggest mysteries artists and collectors alike want to know about fine art galleries is how we determine which work gets on the walls. The answer is very simple: we show the work that speaks to us. This means something different for every gallery – each has their own set of conventions that tie together the work they show, which become clearer with every exhibition. For Abigail Ogilvy, it can be broken up into four distinct categories: technique, process, aesthetics, and concept. Every artist we show brings something unique and contemporary in one of these aspects.


We look for artists who find unexpected applications for their medium. Genre-bending work like Kristina McComb's photography/sculpture hybrids, Lavaughan Jenkins' 3-dimensional oil paintings, and Lisa A. Foster's quilted textile paintings are some examples of artists whose works are not constrained by the conventional uses of their materials. The work is refreshing, adding something new to the ongoing conversation of contemporary art.


Mixed media work by Holly Harrison

Mixed media work by Holly Harrison

When an artist describes their work, uncommon or involved processes can really add depth to a piece. Artists like Holly Harrison, whose process involves photography, printing, painting, and collage in each piece, show skill in their ability to combine various techniques harmoniously. Ola Aksan, who pours paint onto the surface of her pieces and allows it to leak past the bounds of her canvas, demonstrates innovation in the application of her medium. We appreciate work that encourages the viewer to look closer and ask questions. 


The 10th Dimension 2017 Natalia Wróbel Oil paint on canvas 40 x 40 in.

The 10th Dimension
Natalia Wróbel
Oil paint on canvas
40 x 40 in.

It goes without saying that appealing artwork often has high aesthetic value, but this goes beyond being just "pretty". We look for work with compelling aesthetics that intrigue the eye more than just pleasing it. The crunchy, highly textural quality of Keenan Derby's sand-mixed acrylic paintings, and the signature mark-making in Natalia Wróbel's abstract work, are examples of how an artist's aesthetic sensibilities evolve into an unmistakable style which sets it apart from other work in its genre.

Beginners Mind I 2017 Nicole Patel White paint on natural muslin with black oak frame 40 x 32 in.

Beginners Mind I
Nicole Patel
White paint on natural muslin with black oak frame
40 x 32 in.


An interesting concept can really elevate artwork by starting conversation. Whether it is spiritual, social, political, or personal, the ideas behind a piece or series can lead to mature, well-developed work. This can come in many forms: Nicole Patel's minimalist artwork strives to adhere to the inherent quality of her materials by working only with organic, sustainable materials in meticulous processes that invokes Zen Buddhist meditation; Ariel Basson Freiberg's explores female identity and sexuality by depicting women in erotic poses and obscuring their faces and genitals with with thick smears of paint. Artwork is enhanced by the stories behind them, and part of showing fine art is sharing those stories with our viewers.

Ultimately, every gallery is attracted to an artist for different reasons. The fun part of exploring the art world is navigating those diverse spaces. They are all united by one goal: finding unique perspectives we feel strongly about sharing with the world.

Welcoming Allyson Boli to the Abigail Ogilvy Team!

We're excited to introduce our new Assistant Director, Allyson Boli. A graduate in Art History and Business from University of Vermont, Ally has spent the past two years working in development at the Metropolitan Museum of Art in New York City, with a focus on museum events (yes, she met Tom Brady at the Met Gala this year!). Art History has always been Ally's passion, enhanced by the semester she spent abroad in Florence giving tours in the Duomo, and two summers at a gallery in Nantucket, MA. She first got involved in museums as an education intern at the Met, and then transitioned full-time into their development team. 

A Massachusetts native, Ally is excited to be back in her home state, discovering Boston and getting to know its arts community. She is looking forward to working more closely with artists and their work, and helping clients find the perfect pieces for their collection.

Outside of the gallery, Ally loves cooking (Italian is her specialty) and playing with her chocolate lab named Miley (but not after Miley Cyrus). These are a few of her favorite things:

Contemporary Artist: Kehinde Wiley
Artist from Art History: Helen Frankenthaler
Museum: The Whitney in New York City
Movie: Woman in Gold
City to Travel To: Amsterdam, Netherlands
Band: Alabama Shakes
Current TV Addiction: Game of Thrones
Instagram on her feed: @campingwithdogs

Installation Art with Kate Holcomb Hale

Kate Holcomb Hale's installation work is an exploration of edges and the physical, biological, and psychological activity that takes place along them. Her recent series Where the Edges Meet? examines the moment one’s identity shifts as a result of loss or trauma. This series also includes her most recent work And Neither Are We. Hale, a Buffalo native, received her MFA from Maine College of Art in 2007. Her pieces are created out of charcoal, paper, acrylic paint and vinyl. We sat down with her to ask her about the practice, process, and inspiration behind her installations. 

Hale installing And Neither Are We in The Garden

Hale installing And Neither Are We in The Garden

Why did you choose to explore edges?

I explore edges because edges signify transition.  The edge of a sheet of paper is typically where a drawing or painting ends.  Rather than being an ending point for my work, the edge of the paper becomes a point of expansion in my art making practice. It is at this point (the edge) that the work transitions from the wall into space becoming more sculptural.  What is typically 2D become 3D.  Paint and charcoal applied to the walls, ceiling and floor interact and draw attention to the edges of the paper.

How does a 3-D work come together – do you design around the space in which you will exhibit? Or do you adjust to fit the space?

While each installation is initially composed in my studio, I am able to transfer my pieces to other locations.  They shift slightly as they adjust to each new space and the architecture of that space.  I used to fixate on replicating exactly what I had created in the studio.  Eventually I decided to embrace each new environment with its quirks allowing the work to adapt and conform to its architecture. I just had an installation in the National Prize Show at Cambridge Art Association and the wall I installed on wasn't as tall as the piece.  We brain-stormed about how to construct a wall or a support for the shape that was supposed to extend to the ceiling. In the end, I resolved the installation by wrapping the shape over the top of the half-wall and letting it adhere to the other side of the wall (a sneak peek of the installation before you rounded the corner).  The installation definitely changed but it was specific to that unique space and moment in time.  I'm increasing becoming more comfortable with each install resulting in a slightly different iteration of the original work.  

How did you choose which medium to work with?

Installation view of Hale's And Neither Are We in The Garden

Installation view of Hale's And Neither Are We in The Garden

I have consistently worked with paper and charcoal for quite some time.  I like the expressiveness of the mark making I can achieve with charcoal on paper.  I enjoying creating marks, erasing those marks and working back into the new forms that emerge from this additive/reductive process.  I love the dark blacks I can achieve with charcoal and how they work in contrast to the clean white of the paper.  I also use heavy paper with a lot of texture.  Once I tear into the paper the tears are thick and beautiful adding another layer to the work.

As for using vinyl in my installations that came about after a gallery asked me not paint on their walls.  Up until that point all my work included paint applied directly on the walls.  I was daunted by the prospect of coming up with a new method but then a friend suggested decal vinyl. I found that I love how the vinyl adheres to the walls and still reads as paint.  I paint on transparent vinyl so that my brushstrokes remain visible as I don't want the color to look manufactured.  In some of my works the vinyl also takes on a sculptural quality when I allow it to curl off the wall.  I've witnessed viewers lean in closer to take a second look at the paint and realize it's vinyl.  I enjoy that moment of suspension when the viewer is unsure of exactly what they are looking at. 

How long do you typically spend on a piece? 

I usually spend 2-3 months creating an installation.  I begin with a large-scale charcoal drawing which takes some time to compose.  Once the drawing is complete I begin to cut into and tear away at the edges of the paper.   I move the drawing off the wall and begin to "sculpt" the paper in space.  Once I'm satisfied with its form and placement, I add charcoal and paint to expand the work beyond the paper.  Finally, I consider the lighting as the shadows add another dimension to the work.  

Hands Held Loosely Closely Charcoal, paper, acrylic paint 110 x 70 x 55 in. September 2016

Hands Held Loosely Closely
Charcoal, paper, acrylic paint
110 x 70 x 55 in.
September 2016

Who inspires you?

I see my installations as rejecting traditional boundaries of drawing and painting.  I'm moving my drawings off the wall in an attempt to engage space and merge material with architecture.  As a result I am inspired by painters, sculptors and installation artists.  Such artists include Helen Frankenthaler, Robert Motherwell, Lee Bontecou, Eva Hesse, Sarah Sze, Judy Pfaff, Amy Sillman, Mona Hatoum, Doris Salcedo, Annette Messenger and Anne Truitt.

What two artists would you like to be compared to and why?

I'd like people to say my work is in dialogue with the paintings of Helen Frankenthaler.  I admire the attention Frankenthaler gives the edge of the canvas and her use of negative space.  These are elements I'm also considering when I'm creating my installations.  I'd love for people to see my work in dialogue with the work of Judy Pfaff because of her use of space and color.  While her works are larger in scale and more complex, I am inspired by her installations as they push me to think bigger and explore new materials.