How Curatorial Limitations Impair the Paper Pulp Paintings of Claire Van Vliet and the Janus Press
The Boston Atheneum’s current retrospective exhibition titled, The Art of Paper: Claire Van Vliet and the Janus Press Papermaking Collaborations, highlighted paper pulp artworks and celebrated the Janus Press’s 70th anniversary. The exhibition explores thematic ideas of human connection to nature, collaborative artmaking, and the interplay of art and poetry. However, the curatorial execution ultimately hindered my ability to engage fully with the artwork.
Upon entering the Athenaeum, a cultural hub of Boston’s rich literary and art history, I made my way through the book-lined library walls and into a gallery space nestled towards the back of the building. The initial display in the small entryway featured poems layered on top of paper pulp paintings. This first encounter left me confused—was this the entire exhibit? After moving past this space, I found myself in a room filled with traditional oil paintings reminiscent of old master’s works and saw shadowbox-framed shelves housing more paper artworks. This was certainly an untraditional exhibition. It wasn’t until I ventured further into that room that I reached the main body of Van Vliet and the Janus Press’ work.
Despite the intriguing subject matter and mediums, several challenges arose from the small exhibition space and curation. Inside the crowded space were two pillars and multiple tables along the walls displaying artwork. It was difficult to walk through the space without bumping into a table or pillar. A more minimalistic approach would have allowed the individual artworks to breathe, enhancing their impact, and allowing visitors to embrace the artwork fully.
One instance where the curatorial choices let hindered the artwork was in the placement of Newark Clouds and Storm Clouds. These paper pulp paintings were hung opposite each other in the gallery, but two pillars in the space between them clouded their impact. This placement disrupted the visual dialogue between the pieces and limited their ability to fully develop the exhibition’s themes of nature and human connection. I was impressed with these works but couldn’t stand more than five feet in front from them without hitting a pilar or a person. Without these physical obstacles, the works could have created a stronger, more cohesive narrative, connecting the person to the art. Landscapes can hone the ability to make the viewer see space beyond the gallery walls, evoking a sense of vastness. However here, they were constrained, unable to create that expansive effect. As a result, the exhibition felt more like a high school art show rather than a fully developed celebration of the accomplishments of Claire Van Vliet and the Janus Press.
The curatorial choices lacked clarity and deliberation, leaving me constantly searching for something that would capture my attention. I circled the gallery several times but struggled to find a focal point or a piece that truly felt engaging. Certain works, particularly those that combined poetic texts with sometimes muddy paper pulp paintings, felt overly ambitious. Rather than enhancing the visual experience, the layered elements often seemed forced, as if trying too hard to imbue the pieces with deeper meaning.
Where the exhibition did succeed was in its selection of certain standout pieces. Kilclooney More County Donegal, a vitreograph (a printmaking technique using a glass plate) layered over a pulp painting, immediately caught my eye. The black-and-white painting was one of the few monotone prints. Its deliberate, careful execution stood in contrast to some of the more colorful works. As someone naturally drawn to bold, striking color and contrast, Kilclooney offered a refreshing departure with its monochromatic depth and detail.
Another aspect of the exhibition that succeeded was the introduction to artistic processes I had not been familiar with prior to this show, particularly vitreography. Learning about this printmaking technique added a layer of depth to my understanding of the artworks. This aspect of the exhibition offered a deeper appreciation of the unique methods employed by Van Vliet and the Janus Press.
