'Tree Logic,' which has lined the entrance to Mass MoCA for 25 years, will be coming down for good next week. Prior trees from the installation have been transplanted in Williamstown and North Adams. The last trees will be planted at the museum.
Scientists weren't sure the trees could survive being inverted; once they outgrew their tubs, they were planted earthside and thrived.
NORTH ADAMS, Mass. — The trees will no longer grow upside-down in the Steeple City.
Natalie Jeremijenko's meditation on resiliency, "Tree Logic," will be retired after 25 years of turning heads at the entrance to Massachusetts Museum of Contemporary Art.
The museum announced on its Facebook page this week that the trees will be removed. They will be on view until Monday.
The trees themselves haven't been there that long. Every so often, a new group of saplings is installed and their elders retired to grow naturally on Stone Hill at the Clark Art Institute, which funded the installation, and Colegrove Park, where museum visitors have been known to check on their condition. This last set will remain on the campus, at the end of the Speedway.
"This work, like Mass MoCA itself, defies logic and gravity while signaling that creativity comes in all forms. Jeremijenko conceived of Tree Logic as a work about change and persistence, as trees themselves are dynamic natural systems constantly in flux. In this work, the trees grow while upside down, yet they still instinctively reach for the sunlight," the museum wrote. "MASS MoCA is a non-collecting museum. The artworks on view range from new commissions organized with artists to loans from artists, galleries, estates, and collectors. So at some point, like the trees themselves, things must change."
Although a popular image here, the trees did evince a range of emotions, with some viewers disturbed at the distortion of nature.
Jeremijenko, also an engineer, had spoken with botanists when designing the installation. According to the museum's audio tour, the scientists were divided on how gravity would affect the trees once they were inverted. The trees grew and their branches curved toward the sun; once taken down and put right side up, they gracefully returned to their natural state.
"The branches correct themselves and bear little sign of their early beginnings, speaking to the resiliency of nature, cities and towns, and museums," posted Mass MoCA.
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North Adams' Original Urban Beach Returns
NORTH ADAMS, Mass. — For one afternoon each summer, historic Eagle Street is transformed into a giant sandy beach in the heart of downtown North Adams.
That happens this Thursday, July 16, from 4 to 8 p.m.
Created in 1999 by artist Eric Rudd, the Eagle Street Beach has become one of North Adams' most beloved summer traditions. Children and adults alike are invited to dig, build sandcastles, play beach games, relax in the sand, and enjoy an unforgettable afternoon on 500,000 pounds of sand spread curb-to-curb along the entire length of Eagle Street.
"I've always believed that the best public sculpture is one that people don't just look at — they experience," said Rudd.
Presented by the Barbara and Eric Rudd Art Foundation in partnership with the City of North Adams, the Eagle Street Beach is much more than a festival. Conceived as an urban beach sculpture, the artwork is not complete until thousands of children, families, and visitors become active participants rather than simply spectators. For one afternoon, an ordinary city street is transformed into a place of imagination, play, and community.
Children ages 12 and under can enjoy free giveaways while supplies last, including: Sand pails and shovels, Jack's Hot Dog gift certificates, North Adams SteepleCats tickets and additional surprises donated by local businesses.
While artificial beaches had appeared elsewhere in a variety of settings, the Eagle Street Beach is believed to have been among the first — and possibly the first — block-long downtown street ever transformed into an urban beach as a community sculpture. Several years later, similar urban beach projects, including the internationally known Paris Plages, began appearing in major cities around the world.
It was the year that Arlene Vachereau, clad in a skirt suit and white gloves, had an interview with attorney Walter J. Donovan. She was immediately hired.
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The "Massachusetts Miracle" ushered in a boomtime — despite gloomy local indicators like the relocation of Sprague Electric, loss of Adams Print Works in a massive blaze, and Photech's bankruptcy.
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