'Mary Ann Unger: To Shape a Moon from Bone' at WCMA

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WILLIAMSTOWN, Mass. — The Williams College Museum of Art (WCMA) announced "Mary Ann Unger: To Shape a Moon from Bone," a project consisting of a retrospective survey on view from July 15 through December 22, 2022, as well as a publication. 
 
Organized by Horace D. Ballard, former Curator of American Art at WCMA and currently the Theodore E. Stebbins, Jr. Associate Curator of American Art at Harvard Art Museums, the exhibition and catalog offer the first curatorial assessment of the entirety of Unger's practice and highlight key works as culminating examples of her material experimentation.
 
According to a press release, rising to prominence in the downtown New York art scene in the 1980s and 1990s, Mary Ann Unger (1945–1998) was skilled in graphic composition, watercolor, large-scale conceptual sculpture, and environmentally-responsive, site-specific interventions. An unabashed feminist, Unger was acknowledged as a pioneer of neo-expressionist sculptural form. 
 
"To Shape a Moon from Bone" reexamines the formal and cultural intricacies of Unger's oeuvre, as well as the critical environmental themes suffusing her monumental installations. The exhibition repositions Unger within and against the male dominated New York sculpture scene in the last decades of the twentieth century.
 
"To Shape a Moon from Bone" is Unger's first solo museum presentation in more than twenty years since the McDonough Museum of Art at Youngstown State University (Ohio) presented a fifteen-year retrospective in 2000. 
 
The artist's monumental homage to prehistoric migration, Across the Bering Strait (1992–94), will be on view in concert with previously unseen works on paper and other sculptural works from the Mary Ann Unger Estate, as well as special loans from the Whitney Museum of American Art and Munson Williams Proctor Arts Institute.
 
Works by Unger's daughter Eve Biddle, artist and co-founder of the Wassaic Project, bring two generations of a family of artists—which includes Unger's husband, noted photographer Geoffrey Biddle—into conversation around memory and material evidence.

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Letter: Vote No on 'Jungle' Primaries

Letter to the Editor

To the Editor:

They don't call them "jungle primaries" for nothing.

Question 3 on the November ballot would trash two-party primary elections and replace them with California-style, chaotic — and extraordinarily costly — "jungle" primaries that would destroy the very political parties that have kept America stable since Alexander Hamilton, Thomas Jefferson, and James Madison created them in the 1790s.

Jungle primaries put all candidates, regardless of party, on one ballot with the top two vote-getters facing off in the general election — even if they're from the same party. That would create chaos, but the real issue is money: Jungle primaries give a distinct advantage to candidates backed by corporate money and the super wealthy. In short, jungle primaries move our primaries from the ballot box to big donor meetings long before campaigning even begins.

When something this radical is proposed, you have to look at who's behind it, who's funding it, and ask "why" they are doing it.

Their philosophical guru is Danielle Allen, a Harvard professor who ran for governor in 2022 but couldn't get 15 percent of the Democratic Convention vote to win the party's endorsement.

The money behind this extreme attack on small "d" democratic politics tells us more. With over $5 million in the bank as of Aug. 28, this is a very well-funded campaign — the lion's share of which came from wealthy Boston-area private equity individuals.

Twenty-two private equity executives gave $3.99 million, or 77 percent of all the money from individuals. Current and former Bain Capital executives contributed $1.92 million, and Berkshire Partners executives put up $1.32 million. In short, 22 rich people put up nearly $4 million to change how five million of us vote. Yes, it seems the ultra-wealthy want to destroy the two-party system that has kept our politics stable for 200 years.

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