EMILY MASON To Another Place
October 5, 2018 - February 10, 2019 Brattleboro Museum & Art Center 10 Vernon Street, Brattleboro, VT 05301
To Another Place Mara Williams, Chief Curator Brattleboro Museum & Art Center On a fall evening some 25 years ago, I walked out the front door of the Brattleboro Museum & Art Center with Emily Mason just as the sun was disappearing in the sky across the plaza, behind the old, one-story Brattleboro Co-op. She stood still and gazed with a rapt expression on her upturned face and remarked with wonder in her voice, “Oh, the lavender!” I stared at a sky streaked with gold, pink, and blue and thought: What is she seeing? Glancing at the buildings on Main Street, I saw golden light striking the bricks and deep maroon shadows, but no lavender. Nor was there any in the recesses of the yellow-toned Latchis Hotel and Theatre. As my eyes darted around the scene, the voice in my head kept asking: Where is the lavender? Then, slowly, it bloomed in the subtly tinted air between the sky and our faces—lavender. Mason taught my eyes to see something it was unable to see. Her paintings do the same. Emily Mason is one of those rare individuals who encounter the world as a seamless aesthetic experience. She keeps gloriously abundant gardens adorning the grounds of her summer home and studio of 50 years in Brattleboro. Her light-filled studio in New York City nurtures the house plants that travel with her each year. Possessing remarkable powers of observation, she is able to absorb phenomena from the minute to the panoramic. In her childhood Mason attended the openings of the American Abstract Artists with her mother, Alice Trumbull Mason, a founding member of the group. She even remembers seeing Mondrian at one of their early shows. Later on, when her mother was working at Atelier 17, a print workshop on East Eighth Street, Mason had the opportunity to make an etching of her own, which was used to illustrate a small book about a girl who escapes from Europe. Mason spent the summer of 1952 at the Haystack Mountain School of Crafts in Maine, where she attended a pivotal lecture on analogous color by renowned textile designer Jack Lenor Larsen. While studying at the Accademia di Belle Arti in Venice on a Fulbright scholarship in 1956 she learned new techniques of applying paint, such as blotting and transferring. To Another Place includes works from this formative period in Mason’s career and the six decades that have followed. Emily Mason’s work, by virtue of her birth and training, is deeply rooted in the world of abstract painting that eschews depictions of nature and illusionistic space. Rather, it is art grounded in paint and the act of painting. In the documentary Emily Mason: A Painting Experience by RAVA Films, Mason articulates her artistic process: “I always begin a painting with a blank canvas and not any preconceived idea of what it’s going to look like. I just sort of react. I can’t predict it, so I let the materials suggest the next step and then take it from there.” Her working method is fundamentally a call-and-response with paint and color—an ongoing dialogue of discovery. “It’s a process of letting a painting talk to you. I want painting to take me to a place I’ve never been.”
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High Teck 1989, oil on paper, 23 x 29 inches
Mason revels in the beauty of paint itself. She explores and exploits its materiality, pushing technique to the edge. Many of her paintings begin with a pour, a chance action that places one color on a white ground. The shifting directions of the drip lines provide evidence of how the artist manipulates both paint and surface. She also deploys open, energetic brushwork and expressive mark making. Passages of paint vary, ranging from opaque pools to gossamer veils. Viewing Mason’s work is not only a visual experience but also a visceral one. Without touching the paintings, we understand and respond to their tactility. To Another Place traces the artistic arc of a career. What you will encounter is a remarkable constancy of vision supported by an increasingly nuanced mastery of paint and form. Emily Mason’s most recent paintings are dynamic visual symphonies. Evoking rather than describing, they move us physically, emotionally, and spiritually with their interplay of colors, their coalescing forms, and their shifting intensities, densities, and fusions. Contemplating Mason’s work is much like watching a storm, or a sunrise or sunset. I invite you to be taken to another place by Emily Mason’s paintings. And the next time you step outside, I hope you will encounter lavender hanging in the air.
PRECEDING PAGES: Emily Mason in her Vermont studio, 1986 (photo by Jean E. Davis) and 2018 (photos by Joshua Farr)
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Chronology 1932
1954–55
Emily Mason is born in New York City on January
In the summer of 1954, Mason travels
12. Her mother is the artist Alice Trumbull
throughout Europe. The trip has an enormous
Mason, and her father is Warwood Edwin Mason,
impact on Mason and shapes much of her
a sea captain for American Export Lines.
understanding of Western art. In France, she sees the recently discovered Lascaux Caves. In
1934–37
Italy, she sees Giotto’s frescoes in the Scrovegni
She attends the Little Red Schoolhouse in
Chapel in Padua, the mosaics in Ravenna, and
Greenwich Village.
the Uffizi Gallery in Florence.
1946–50
Mason graduates from Cooper Union in 1955. In
She attends the High School of Music and Art.
the summer of that year, she attends the YaleNorfolk Summer School of Art.
In June 1950, Mason graduates from the High School of Music and Art and enrolls in
1956
Bennington College in Vermont.
Mason is awarded a Fulbright Grant to study in Venice.
1952 Mason transfers from Bennington College to The
In April, she meets the artist Wolf Kahn at
Cooper Union for the Advancement of Science
the Artist’s Club in New York and spends
and Art in New York.
the summer with him in Provincetown, Massachusetts.
In the summer, Mason attends the Haystack Mountain School of Crafts in Maine, where she
In the fall, Mason sets sail for Italy along with
is particularly influenced by Jack Lenor Larsen’s
other Fulbright scholars, including the artist
lecture on analogous color.
Lee Bontecou. She then travels to Venice and enrolls in the Accademia di Belle Arti. In December, Mason travels to meet Kahn in Le Havre, France. They visit Paris before returning together to Venice.
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Summer 1955
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Sea Rise 1957 oil and pastel on paper 20 x 25 3/4 inches
Venezia 1958 oil and pastel on paper 19 1/4 x 26 1/4 inches
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1957 In Venice, Mason and Kahn rent the large central room of a palazzo on the Giudecca. They are married in March. In the spring, the couple travels to Rome, where Mason sees the Jackson Pollock show at the Museo d’Arte Moderna. Mason’s paintings earn her a second year of the Fulbright grant.
1958 In April, Mason and Kahn travel to Greece, before spending another summer in Venice. In November, Mason and Kahn set off for the United States, stopping first in Paris and then in Spain. In Madrid, they visit the Prado Museum. They depart for New York from Gibraltar.
1958, with Wolf Kahn in Venice, Italy photo by Helen Miljakovich
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Before the Festival 1958 oil and pastel on paper 19 3/8 x 26 1/4 inches
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Bottom of the Barrel 1958, oil and pastel on paper, 19 1/2 x 26 1/2 inches
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Traghetto 1958, oil and pastel on paper, 19 1/4 x 26 1/2 inches
15
1958, Venice, Italy photo by Tinto Brass
Phoenix in Passage 1958 oil on canvas 49 1/2 x 33 1/2 inches
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Sheer Off 1962, oil and pastel on paper, 25 x 19 1/2 inches
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1959 Back in New York, Mason and Kahn live in a loft on Broadway and 12th Street. In September, Mason gives birth to a daughter, Cecily. At the end of the year, Mason joins the Area Gallery on 10th Street, an artistrun space.
1960-62 Mason’s first solo exhibition opens at the Area Gallery in 1960. It features her Venice work. Another two shows follow in 1961 and 1962. In the fall of 1962, Mason returns to Italy with her family. They settle in Milan for the winter.
1964 In March, Mason gives birth to her second daughter, Melany, in Rome.
1965 The family returns to New York.
ca. 1962, with daughter Cecily photo by Emily Nelligan
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Mare di Milano 1963, oil and pastel on paper, 19 1/4 x 26 1/2 inches
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Reach 1962, oil and pastel on paper, 19 1/4 x 25 inches
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Thread 1967 oil on paper 13 1/2 x 7 5/8 inches
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Clay Cliffs 1967 oil on paper 13 1/4 x 7 1/2 inches
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Long Acre 1968 oil on paper 13 3/8 x 7 5/8 inches
24
1968 In the spring, Mason and Kahn purchase a farm in West Brattleboro, Vermont. Mason uses the combined blacksmith’s shop and chicken coop as a studio.
1973 In April, Mason and her family travel to Kenya. They visit Nairobi, the Samburu National Reserve, Lake Naivasha, Malindi, Lamu Island, Masai Mara National Reserve, and Marsabit.
1977 An exhibition of Mason’s work opens at the Landmark Gallery in New York. Two more exhibitions follow in 1978 and 1981.
1966, Martha’s Vineyard photo by Sam Millstein
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Mitered Afternoon 1970 oil on canvas 52 x 40 1/2 inches
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Lit Up 1975, oil on paper, 14 1/2 x 11 1/2 inches
28
Green Gage 1975, oil on paper, 14 1/2 x 11 5/8 inches
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To Wrap Its Shining Yards 1978, oil on paper, 14 1/2 x 14 1/2 inches
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Fault 1977, oil on paper, 14 1/2 x 14 1/2 inches
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Ginger Root 1977 oil on paper 14 1/2 x 14 1/2 inches
32
33
Whose Fingers Comb the Sky 1978, oil on canvas, 50 1/4 x 52 inches
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Way Down Yonder 1980, oil on canvas, 54 x 52 inches
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Velvet Limb 1984 oil on paper 26 x 20 inches
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1979 Mason moves her studio from Broadway to West 20th Street. In the fall, she begins teaching parttime at Hunter College.
1984 A solo exhibition of Mason’s work opens at the Grace Borgenicht Gallery in New York. Mason exhibits with Borgenicht in 1987, 1990, and 1992.
1985 The Associated American Artists gallery commissions a print edition from Mason. She employs a technique suggested by the printmaker Anthony Kirk, using carborundum to establish an image from which to print.
ca. 1987 photo by Phong Bui
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Take Away 1983 oil on paper 26 x 20 inches
38
Thoughtful 1985, oil on paper, 40 x 30 inches
40
Windfall 1986, oil on paper, 40 x 30 inches
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Tropic 1989 oil on canvas 60 1/4 x 52 inches
42
Last of the Fall 1992 oil on canvas 50 x 30 inches
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Night’s Canvas 1991, oil on canvas, 44 x 30 inches
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1997 Mason begins to show at the MB Modern Gallery in New York. She exhibits there in 1998, 1999, and 2001
2001 Mason begins exhibiting at David Findlay Jr Gallery, New York, where she shows regularly through 2015.
2004 A solo exhibition of Mason’s paintings opens at LewAllen Galleries in Santa Fe, New Mexico, where she continues to show up through the present. An exhibition of Mason’s prints opens at the Scuola Internazionale di Grafica in Venice, Italy.
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ca. 1991, New York photo by Tommy Naess
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Coming to Earth 1994, oil on clayboard, 14 x 11 inches
Night Game 1994 oil on clayboard 20 x 16 inches
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Silver Sails 1994, oil on clayboard, 7 x 5 inches
The Purple Could Not Keep the East 1994 oil on clayboard 20 x 16 inches
50
Interview 1994, oil on clayboard, 11 x 14 inches
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Nesting 1999, oil on clayboard, 11 x 14 inches
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The Skies Are Crowded 1996, oil on clayboard, 5 x 7 inches
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Venetian Reflection 1996, oil on clayboard, 5 x 7 inches
55
Wild Ginger 1996, oil on clayboard, 7 x 5 inches
56
Encampment 2002, oil on clayboard, 5 x 7 inches
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Indian Paint Brush 1996, oil on clayboard, 16 x 20 inches
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Strait of Messina 1998, oil on clayboard, 16 x 20 inches
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60
Caution to the Wind 2003, oil on clayboard, 14 x 11 inches
March is Heard 1998 oil on canvas 60 x 54 inches
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Brewing 2006, oil on clayboard, 10 x 8 inches
2005 A solo exhibition of Mason’s prints opens at the Brattleboro Museum & Art Center in Vermont. A solo exhibition of Mason’s paintings opens at the Ogunquit Museum of American Art in Maine.
2008 Contemplating Color, a traveling exhibition of Mason’s paintings organized by LewAllen Galleries, is shown at LewAllen Galleries in Santa Fe and at The Art Museum of South Texas in Corpus Christi.
2016 Mason begins exhibiting at Ameringer | McEnery | Yohe in New York. The preceding chronology was prepared by Miles McEnery Gallery and is reproduced here with their kind permission.
2018, Vermont photo by Joshua Farr
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Marrow of the Day 2005 oil on canvas 52 x 72 inches
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Intelligent Design 2005, oil on clayboard, 10 x 8 inches
66
Under Currents 2005, oil on clayboard, 10 x 8 inches
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In From the Cold 2007, oil on clayboard, 7 x 5 inches
Out to Dry 2006 oil on clayboard 10 x 8 inches
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Macchu Picchu 2010 oil on canvas 68 x 52 inches
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In House 2017 oil on canvas 70 x 52 inches
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Works in the Exhibition
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Sea Rise 1957
Mare di Milano 1963
Ginger Root 1977
oil and pastel on paper
oil and pastel on paper
oil on paper
20 x 25 3/4 inches
19 1/4 x 26 1/2 inches
14 1/2 x 14 1/2 inches
Venezia 1958
Thread 1967
To Wrap Its Shining Yards 1978
oil and pastel on paper
oil on paper
oil on paper
19 1/4 x 26 1/4 inches
13 1/2 x 7 5/8 inches
14 1/2 x 14 1/2 inches
Before the Festival 1958
Clay Cliffs 1967
Whose Fingers Comb the Sky 1978
oil and pastel on paper
oil on paper
oil on canvas
19 3/8 x 26 1/4 inches
13 1/4 x 7 1/2 inches
50 1/4 x 52 inches
Bottom of the Barrel 1958
Long Acre 1968
Way Down Yonder 1980
oil and pastel on paper
oil on paper
oil on canvas
19 1/2 x 26 1/2 inches
13 3/8 x 7 5/8 inches
54 x 52 inches
Traghetto 1958
Mitered Afternoon 1970
Take Away 1983
oil and pastel on paper
oil on canvas
oil on paper
19 1/4 x 26 1/2 inches
52 x 40 1/2 inches
26 x 20 inches
Phoenix in Passage 1958
Lit Up 1975
Velvet Limb 1984
oil on canvas
oil on paper
oil on paper
49 1/2 x 33 1/2 inches
14 1/2 x 11 1/2 inches
26 x 20 inches
Reach 1962
Green Gage 1975
Thoughtful 1985
oil and pastel on paper
oil on paper
oil on paper
19 1/4 x 25 inches
14 1/2 x 11 5/8 inches
40 x 30 inches
Sheer Off 1962
Fault 1977
Windfall 1986
oil and pastel on paper
oil on paper
oil on paper
25 x 19 1/2 inches
14 1/2 x 14 1/2 inches
40 x 30 inches
Tropic 1989
The Skies Are Crowded 1996
Marrow of the Day 2005
oil on canvas
oil on clayboard
oil on canvas
60 1/4 x 52 inches
5 x 7 inches
52 x 72 inches Courtesy of Miles McEnery Gallery, NY
High Teck 1989
Venetian Reflection 1996
oil on paper
oil on clayboard
Intelligent Design 2005
23 x 29 inches
5 x 7 inches
oil on clayboard 10 x 8 inches
Night’s Canvas 1991
Wild Ginger 1996
oil on canvas
oil on clayboard
Under Currents 2005
44 x 30 inches
7 x 5 inches
oil on clayboard 10 x 8 inches
Last of the Fall 1992
Indian Paint Brush 1996
oil on canvas
oil on clayboard
Brewing 2006
50 x 30 inches
16 x 20 inches
oil on clayboard 10 x 8 inches
Silver Sails 1994
March is Heard 1998
oil on clayboard
oil on canvas
Out to Dry 2006
7 x 5 inches
60 x 54 inches
oil on clayboard
Courtesy of LewAllen Galleries, NM
10 x 8 inches
oil on clayboard
Strait of Messina 1998
In From the Cold 2007
14 x 11 inches
oil on clayboard
oil on clayboard
16 x 20 inches
7 x 5 inches
oil on clayboard
Nesting 1999
Macchu Picchu 2010
20 x 16 inches
oil on clayboard
oil on canvas
11 x 14 inches
68 x 52 inches
Keep the East 1994
Encampment 2002
In House 2017
oil on clayboard
oil on clayboard
oil on canvas
20 x 16 inches
5 x 7 inches
70 x 52 inches
Interview 1994
Caution to the Wind 2003
oil on clayboard
oil on clayboard
All works courtesy of Emily Mason,
11 x 14 inches
14 x 11 inches
except where otherwise noted.
Coming to Earth 1994
Night Game 1994
The Purple Could Not
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Acknowledgments The publication of this catalogue was made possible by generous contributions from the individuals listed below. We extend our thanks to each of them, as well as to Steven Rose and Miles McEnery for their invaluable assistance in the production of Emily Mason: To Another Place. Bruce and Catie Berg Chris Chapman and Alison Hale Rick and Jan Cohen Margaret Everitt Danny Lichtenfeld Gordon Faison and Eleanora Patterson Melany Kahn and Bo Foard Cynthia Koller and John Spencer Mark, Liz, and Annie Richards Phil and Marcia Steckler Alice and Richard S. Thall Harvey S. Traison Mara Williams and Tom Hilsdon
Graphic design by John DiGeorge Production management by Erin Jenkins Printed by Springfield Print Integrated, North Springfield, Vermont Images of artwork Š 2018 Emily Mason / Licensed by VAGA at Artists Rights Society (ARS), New York
Emily Mason: To Another Place Š 2018 Brattleboro Museum & Art Center All rights reserved ISBN: 978-0-916905-01-9
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FRONT COVER: March is Heard 1998, oil on canvas, 60 x 54 inches [detail] BACK COVER: Emily Mason in her Vermont studio, 2018 (photo by Joshua Farr)