Somerville Artist Karen Moss: An artist whose work is 'about something'

 

Recently I had a chance to talk with Karen Moss at her space in the Miller Street Studios in Somerville, Mass. I was introduced to her work at "Open Studios"-- an event that the Somerville Arts Council puts on yearly. She told me that her work is always "about something" often touching on the social and the political issues of our times.

According to her website,

 Boston-based artist Karen Moss explores social, historical and environmental issues through a variety of media including drawings, paintings and collage.

Doug Holder: How has it been for you at the Miller Street Studios in Somerville?

Karen Moss: Well, I have only been here for a year. I was pressured to leave my Braintree Street Studio in Allston--there is a  robotics company in its place now.  I love being at Miller Street-- and the landlord seems to love artists! Some 50 years ago I started at the Vernon Street Studios in Somerville. I was one of the three first tenants. Maude Morgan helped us find a space--so I guess I got my first start in Somerville.

DH:  A lot of your work makes a political statement. You explore Native Americans, banned books, the subtext of children's stories, colonialism, etc...

KM:  There are a lot of different aspects to my work. I use political ideas as well as humor and pop culture. Some of my work is lighthearted. My work is about something--it has a narrative quality.

DH:  Was your childhood full of creativity?

KM: In a show I presented, " Life Before TV" I explored my own childhood before the birth of TV. As a child I drew all the time. I had a vivid imagination. I was influenced by children's literature. It seems to me that most kids stop drawing, as reading and writing takes over their time. I always kept drawing. The kids I hung out always created imaginary projects. Until second grade I grew up in Jamaica Plain. There were a lot of parents who were involved in the arts, so it was a rich environment for me. My parents encouraged my creative side. In second grade we moved to Newton and again I was around creative kids. My mother, Norma Canner was once an actress and dancer in on Broadway--so she always encouraged my creativity. There was a documentary made about her, "A Time to Dance: The Life and Work of Norma Canner."

DH: Would you characterize your own work as dramatic?

KM: Some of it is a little dramatic. For instance, the "Finger Print Project." This was a project that involved interviewing people in prison.  I interviewed the bodyguard of Huey Newton  ( Black Panthers)  " Big Bob," as well as Meekah Scott-- a member of the Framingham Eight--a group of women in Framingham State Prison who killed their abusers in self-defense. The fingerprints were the art--when you pressed one print--text would appear next to it.

DH: Tell us about your banned books project?

KM: This was a project where I painted people who were reading banned books. Many of the people I selected randomly--others I knew.  The books chosen dealt with racism, gender, and sexuality. One of my subjects was a guard at the Rose Museum at Brandies University. He was reading a book by James Baldwin. Another subject was a young trans person who was reading the book " The Perks of Being a Wildflower."

To find out more about Moss go to:  https://www.karenmoss.com/

Toni Stone Review of Toni Stone, a play by Lydia R. Diamond

 

Toni Stone

Review of Toni Stone, a play by Lydia R. Diamond

At the Huntington Theatre through June 16, 2024

By Andy Hoffman

In Toni Stone, the Huntington Theater has an exhilarating show to close out the season. Filled with dance, music, drama and laughs, this story of the first female professional baseball player on a male team simultaneously lifts the spirits of the audience and explores the ways that identity defines our possible lives. As a black woman, Toni couldn’t play in the women’s professional league memorialized in A League of Their Own. Instead, she signed with a variety of semi-pro teams before landing on the roster of the Indianapolis Clowns, replacing Hank Aaron at second base for the 1953 season. This rousing production at the Huntington Theatre brought the audience to its feet, closing out Artistic Director Loretta Greco’s glorious first season at the helm. An evening at Toni Stone produces all the joy and satisfaction of an exquisite day at the ballpark.

The play focuses on the single season Stone spent in the league, hired at least in part as novelty to sell tickets. The Negro League played excellent baseball, with enormous talents like Satchel Paige, Jackie Robinson, and Hank Aaron in the line-ups before Major League Baseball welcomed African Americans, but the owners saw the games – both within the league and the unofficial exhibition games with white teams, often rigged so the white teams would win – as entertainment as much as sport. If you think of the Harlem Globetrotters as the framework, you’ll get the idea. In this context, Toni’s ground-breaking season seems more showmanship than athletic accomplishment. Though Toni Stone was an extraordinary athlete, distinguishing herself in track, figure-skating, and gymnastics before settling on baseball, the league owners secretly agreed to pitch hittable balls to her to satisfy the audience. Whether for that reason or another, Stone stepped back from professional baseball after playing a year with the Clowns.

In the context of the play, however, this performative emphasis in her presence on the field brings meaning to the production. Diamond, who both wrote and directed the play, leaves Jennifer Mogbock, who plays Toni marvelously, as the only woman on the stage. Men play the other women, just as the Black actors play the white team owners and the disgruntled fans when Toni and her teammates refuse to throw a game to the white exhibition opposition and the boys

learning the game. Toni Stone explores the degree to which gender, race, and sexuality can become purely matters of performance rather than matters of fact. Having a woman play professional baseball calls into question all the assumptions about how socially constructed identities become stand-ins for the reality we share. It’s a testimony to this production that the profundities of the script never bog down the show, just as the extraordinary fact of a woman in professional baseball doesn’t alter the basic facts of baseball’s nine innings and three outs. The show zips along even as it invites the audience to uncover the essence beneath the performance.

The play – and Mogbock’s performance – also reveals the painful conflicts Toni experiences as she breaks cultural norms. Toni never feels at ease or at home on the baseball field, even though the sport represents her true love. Whenever she comes up against the social tensions her boundary-busting position imposes on her, she pulls out a pack of baseball cards from her pocket and begins reciting statistics as a way to remind her of what she’s doing. Her character finds a balance in teammate Spec, played by Omar Robinson, who reads between at bats and quotes the Ancestors – especially Harriet Tubman and W.E.B. DuBois – throughout the play. The set and the cast shift endlessly as new characters enter and exit, played by Toni’s teammates. The stands form the backdrop onstage becomes the bus the players travel on, the whorehouse where they’re sometimes forced to sleep, the bar where Toni meets Alberga, with whom she forms a relationship, and a variety of other performance spaces. The elasticity of the set and the cast reflects the elasticity of the game, which remains baseball no matter who plays it. Toni Stone caps a promising initial season with Lorretta Greco at the artistic helm of the Huntington, balancing crowd-pleasing and challenging productions such as Prayer for the French Republic, John Proctor Is The Villain, and The Band’s Visit. The Huntington Theatre finds itself in sure hands, and next season promises to be every bit as good as Toni Stone.