
The nave of the Grand Palais after restoration, 2012. Photo © 2015, Rmn-GP-Grand Palais201
It’s not like most of us have the opportunity to visit all the great museums even without COVID-19. But it is possible these days to get a “next best thing” tour of world culture thanks to the internet.
Let me be clear at this point that I’m not a great art connoisseur and have not been to most of the world’s great museums (yet). But I would like to learn more, and as the new year begins I feel a bit of an urge to learn and see new things; while the online museum experience has a lot of flaws, it also is better than sitting around the house watching cat videos on YouTube.
Let’s begin by saying frankly that most museum virtual tours are disappointing, for many reasons. Generally the art works are all presented as being the same size, so that a wall-size painting such as Georges Seurat’s “A Sunday on La Grande Jatte” (at the Art Institute of Chicago, www.artic.edu) looks the same size online as “Maternal Caress” by Mary Cassatt, which is about 10.5 by 4.5 inches.
Many museums offer virtual “walking tours” and Google street view visits to museum galleries, but they’re usually poorly lit, distorted and nausea-inducing if the camera pans around too quickly.
You are also unable to access many virtual tours unless you download Adobe Flash, which I have had some bad experiences with and won’t allow on my computer.
Google tries very hard to put its fingerprint on most of the world’s museums and cultural heritage sites through its Google Arts and Culture website. There you can find links to many museums and lots of activities, most of which are geared to young people. There are games and puzzles, and there are short videos of indie pop culture icons such as Grimes and Fiest talking about famous works of art, modern and ancient.
Most of it I found uninteresting or overwhelming but there are some glimmers of excellence. The one I liked best and that I’ll recommend to you here is a tour of the Grand Palais in Paris. If you go to the actual museum website, you just get the usual short teasers about their current shows.
But if you go to the Google Arts and Culture page on the Grand Palais, you get interesting history and photos of the creation of the building —which combines sculpture and classical architecture and a glass dome and an outdoor colonnade — for the Universal Exposition of 1900.
The photos and the history (in English) are clear and easy to absorb. For World War history buffs, there is an entire text and photo section on the conversion of the space (which is huge, on the scale of Grand Central Station) into a hospital for wounded soldiers.
There are four “views”of the exterior of the building, including a view of Paris from the roof. Unlike the dizzying videos in which a camera pans around a site, here you click on arrows that bring your progressively closer to whatever details you’d like to focus on.
And of course there are photos and short explanations of the photos and paintings in the museum’s collection.
No doubt there are many other excellent tours of art and architecture on the internet.
But in a three-hour search of the internet this morning, the website for the Grand Palais was the one I felt most like recommending. It was a nice mix of architecture and art; and it was a virtual journey to Paris, which is a city I’d like to visit if I had the time and money and there wasn’t a worldwide pandemic.
To visit the Google Arts and Culture tour of RMN-Grand Palais online, go to https://artsandculture.google.com/partner/rmn-grand-palais.
In case you’re wondering, RMN stands for Réunion des musées nationaux.
Jazz and classical ensembles from Salisbury School and Indian Mountain School, and solo pianists and a cellist, will perform for the 43rd annual student recital at the United Congregational Church in Salisbury on Sunday, Feb. 23.
The annual student recital is returning for its 43rd year at Salisbury Congregational Church at 30 Main St.
This year’s performance is set for Sunday, Feb. 23, at 3 p.m.
Jazz and classical ensembles from Sailsbury school and Indian Mountain School as well as solo pianists and a cellist will grace the stage at the United Congregational Church.
Admission is free and donations to the church’s special music fund are encouraged.
After the performance, viewers are invited to stick around for a reception with sandwiches, chili and dessert.
Indoor track BL champs
Housatonic Valley Regional High School senior Kyle McCarron’s 1600-meter time of 4:30.31 earned him second place in this year’s indoor state meet. He was within two seconds of first-place finisher Matthew Kraszewski from Nathan Hale-Ray High School.
McCarron was one of eight runners to represent HVRHS in the 2025 Connecticut Interscholastic Athletic Conference Class S indoor track meet at Floyd Little Athletic Center in New Haven Feb. 15. In addition to his 1600-meter silver medal, McCarron placed sixth in the 3200-meter run.
For the HVRHS girls, Mia Dodge placed fifth in the 55-meter hurdles. Dodge also placed fifth in the sprint medley relay with teammates Gabi Titone, Harper Howe and Kenzie Lotz. Howe placed eighth in the 600-meter race. Titone placed 10th in the 1600-meter race.
Patrick Money placed 10th in the boys 55-meter hurdles and 25th in the long jump. Money, Kyle McCarron, Silas Tripp and Peter Austin placed 12th as a team in the sprint medley relay.
Joy Brown installing work for her show at the Tremaine Art Gallery at Hotchkiss.
This year, The Hotchkiss School is marking 50 years of co-education with a series of special events, including an exhibition by renowned sculptor Joy Brown. “The Art of Joy Brown,” opening Saturday, Feb. 22, in the Tremaine Art Gallery, offers a rare retrospective of Brown’s work, spanning five decades from her early pottery to her large-scale bronze sculptures.
“It’s an honor to show my work in celebration of fifty years of women at Hotchkiss,” Brown shared. “This exhibition traces my journey—from my roots in pottery to the figures and murals that have evolved over time.”
Co-curated by Christine Owen, Hotchkiss ceramics instructor, and Joan Baldwin, curator of special collections, the scale and scope of the exhibition was inspired by a recent Ed Ruscha retrospective in Los Angeles. “I thought it would be incredible to showcase all these different aspects of Joy’s work,” said Owen, who has known Brown for over 30 years.
Brown’s father, a Presbyterian missionary and medical doctor, opened a hospital in Japan where Brown grew up and cultivated her love of clay. Her first apprenticeship was in Tomba, a region in Hyogo Prefecture known for its ancient pottery kilns and Tambayaki pottery. “There are thousands of years of continuous history of clay there and I was working with a 13th generation potter.” Brown recalled that as part of her early training, her teacher handed her a sake cup and said, “make these.” With no extra instruction given, Brown proceeded to make thousands of copies of the cup. Never fired, she realized that the pieces were an exercise. She explained, “You’re not really making something, you’re participating in a process that these things emerge from.” From there, she embarked on an apprenticeship with master potter Shigeyoshi Morioka. As part of the process she learned from Morioka, Brown has built a 30-foot-long wood-firing tunnel kiln on her property in Kent, Connecticut, where she fires her work once a year in an intensive month-long process. The fire’s natural interaction with the clay creates unique earth tones and ash patterns, highlighting the raw beauty of the material.
Natalia Zukerman
“I learned not just pottery but a whole way of life,” she recalled. “The work is a continuous process—like practicing a signature until it evolves into something uniquely yours.” Her figures, initially emerging as playful puppets, have since evolved into large-scale sculptures now found in public spaces from Shanghai to Broadway to Hotchkiss’s own campus.
Brown’s seven-foot “Sitter with Head in Hands” was installed near Ford Food Court in October, followed by “Recliner with Head in Hands” near Hotchkiss’s Main Building in November. She welcomes interaction with her sculptures, encouraging visitors to touch them and even dress them with scarves or hats. “These figures transcend gender, age, and culture,” Brown noted. “They’re kind of like when you’re 4 years old and you didn’t know or care what you were, you know? All of us meet in that field and I think people resonate with that.”
In conjunction with the exhibition, Hotchkiss will host a screening of “The Art of Joy Brown,” a documentary by Eduardo Montes-Bradley, followed by a panel discussion with the artist and filmmaker on March 6 in Walker Auditorium. Brown will also serve as an artist-in-residence, collaborating with students on special projects.
On being part of the celebration of women at Hotchkiss Brown said, “Fifty years ago, I was deep in the mountains of Japan, immersed in clay.” With a soft spoken and almost childlike quality, Brown spoke about and interacted with her pieces with curiosity, reverence and wonder.
“The practice of working with clay for all these years is grounding and centering for me. It challenges me,” she said. “The work forces me to put myself out there. It’s not just the making of the pieces that make me more whole, the pieces themselves become more present.”
Brown reflected on the retrospective nature of the show and shared that putting it together has been like looking at a family album. “It’s kind of like I’m seeing my whole life in front of me,” she said. “It’s humbling and makes me think about why I do what I do. It comes back to the idea of those thousands of sake cups, you know? We’re just here, being as present as we can be. We’re not making things, we’re participating in a process of being more present, and all that spirit is reflected in the work.”
“The Art of Joy Brown” opens Saturday, Feb. 22, and runs through April 6. For more information, visit www.hotchkiss.org.
This story has been updated to reflect a change in the scheduled opening date due to forecast extreme weather conditions.
A special screening of “The Brutalist” was held on Feb. 2 at the Triplex Cinema in Great Barrington. Elihu Rubin, a Henry Hart Rice Associate Professor of Architecture and Urban Studies at Yale, led discussions both before and after the film.
“The Brutalist” stars Adrien Brody as fictional character, architect Laszlo Toth, a Hungarian-born Jewish architect. Toth trained at the Bauhaus and was interred at the concentration camp Buchenwald during World War II. The film tells of his struggle as an immigrant to gain back his standing and respect as an architect. Brody was winner of the Best Actor Golden Globe, while Bradley Corbet, director of the film, won best director and the film took home the Golden Globe for Best Film Drama. They have been nominated again for Academy Awards.
Laszlo Toth goes to work in his cousin’s furniture store when he arrives in New York, living in the storeroom and helping his cousin build up the business. When his cousin’s wife falsely accuses him of making a pass at her, he ends up living in a homeless shelter.
A would-be patron tracks him down, finds him working construction—the only job he can get—and asks, “Tell me, why is an accomplished foreign architect shoveling coal here in Philadelphia?”
Eventually, Toth gains a commission but faces prejudice as a foreigner and Jew, even though he and his wife, who he reunites with after she’d been in the concentration camp, Dachau, are both highly educated—she is an Oxford graduate and an established writer in their home country of Hungary.
Rubin began his discussion before the screening by saying, “I am thrilled this film has brought architecture to the forefront. There is something so fascinating and robust about the space Brutalist architecture creates.”
Brutalism is known for using “raw materials,” such as brick and concrete in ways that leave them visible. Rubin said that concrete is “incredibly expressive. It comes to the building site as mud and becomes what it is poured out as.”
“At first,” said Rubin, “optimism was associated with Brutalism.”
Brutalism came to the forefront of architecture in the 1950’s when it was used to reconstruct housing in the United Kingdom after WWII.
Some prime examples of Brutalist architecture include Boston City Hall, Rudolph Hall at Yale University, and the Temple Street Parking Garage in New Haven.
Rubin commented, “Brutalist architecture became the de-facto language of government and institutional architecture.”
Rubin said Brutalism began to fall out of favor in the 1970’s when it began to be associated with urban decay and totalitarian governments, who used it extensively.
Rubin asked the audience to consider two questions as they watched the film: “Why is the main character an architect… what does it bring to the emotional core?” and, “Who or what is the Brutalist in the film?”
After the screening, Rubin commentedtha Brutalist architecture is about “Getting an object to, ultimately, stand by itself.” Rubin explained that Brutalism “Throws off shadows of the past. No extraneous detail is left.” Audience members discussed how this could also be true of the character of Laszlo.
Rubin explained that architects face the challenge of “how to express themselves through someone else’s commission.” Discussion involved how Laszlo finds a way to achieve this.
The audience agreed that the film brought up some timely issues about immigration, class awareness, and acceptance, while asking them to consider how Brutalism applies to these subjects. The movie is at times, as rawly constructed as a brutalist building.