Artscope: Varujan Boghosian’s Magical Oddities are a Delight

By Rachel Flood Page, Artscope

Whimsical and playful, surreal and profound, "Fragments of Memory" at the Armenian Museum of America in Watertown firmly places Armenian American artist Varujan Boghosian in the company of influential assemblage artists like Joseph Cornell, Hannah Höch, Kurt Schwitters, Max Ernst, and Salvador Dali. Art lovers who appreciate oddities, hidden stories in nooks and crannies, and finding something new every time they take a second look, will delight in digging deep into the incredible portfolio of Boghosian.

Raised in Connecticut by working class parents, young Boghosian was inspired by his teacher, and poet, Constance Carrier, who led him to a love of stories. After serving in the United States Navy during World War II, he attended art school in Boston, Italy and under the tutelage of Josef Albers at Yale. Throughout his career, his works have been exhibited in museums across the country and in public collections at the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, the New York Public Library, and the Philadelphia Museum of Art. A beloved member of the Provincetown artistic community, his work was often on view in friend Berta Walker's gallery. Boghosian was earnestly, and devotedly, an educator for much of his life, his longest tenure at Dartmouth College, from 1968 to 1996.

 

Varujan Boghosian

 

As the son of Armenian immigrants who left their home to escape a genocide, it is not a surprise that Boghosian found preciousness in lost or discarded things. His constructions are clearly so lovingly created, adding an additional layer of profundity to his enigmatic work. He called himself a "junk collector" but really, he was a junk connoisseur, seeking out objects that held meaning for him, tied to the themes he wanted to explore. He often collected multiples of the same thing — including butterflies, children's blocks, letters, human figures, and maps.

"Fragments of Memory" includes a video of Boghosian where the artist is interviewed while enthusiastically rifling through a large warehouse of second-hand objects, stating: "You never have enough, the more you have, the more opportunities you have." The video's inclusion was a wonderful choice by curator Ryann Casey, allowing Boghosian's kindness, humor, and curious nature to inform the visitor's experience.

Describing his process, friends noted that Boghosian would often work on multiple pieces at once, some taking a considerable amount of time to be finished. Every construction for him was a journey of waiting, of finding, of deciding, and of finally placing the object, or fragment of a print, or piece of wallpaper, exactly where it was meant to be. Poet Stanley Kunitz wrote the poem "Chariot" in 1989 about his friend's workshop, and likely the beginnings of what became "Variation of a Constellation," on display in this exhibition,

"Here everything waits to be renewed. That horse-age wagon wheel propped in the corner against an empty picture-frame even in its state of disrepair, minus three spokes, looks poised for flight."

While entirely amiable, one must have a sense of humor to be as beloved a professor as he was, and Boghosian's approach was meticulous. Many of his constructions contain intricate mosaics, such as the perfectly puzzled backdrop of "The Heart of the Matter," 1992. This precision also appears in his watercolors and drawings. In an early work from 1954, the watercolor "Perugia," bright blocks of vibrant color in a geometric pattern are framed not by lines, but by hundreds of tiny dots creating the borders of the image. Boghosian's pointillist approach appears in his "Studies for Orpheus" from 1963. The physicality of these pieces is palpable, tiny nails hammered close together in concentric patterns on a wooden hat block - one can imagine the artist bent over and dexterously tapping in each individual nail with intense focus, resulting in something quite beautiful.

 
Heart of the Matter

Heart of the Matter

 

"Studies for Orpheus" evokes another theme throughout his work, that of constellations, and in particular, maps of stars that present the images from myth that inspired their naming such as an "Untitled" collage where he placed one of Dali's painted illusory figures, a kind of assemblage itself, in front of an illustrated constellation map. Another piece of Dali's work appears in "Combat," two fighting figures, a fragment of Dali's "Le Spectre des Sex Appeal," encircled by a swirl of Boghosian's meticulously placed white dots, reminiscent of spiraling light patterns in Otto Piene's work.

Boghosian's interest in mythology, and the story of Orpheus and Eurydice in particular, is well known, and the imagery that he imagined representing the tale is threaded throughout his constructions. In his two- and three-dimensional works, Orpheus is often represented by a bird, his love for Eurydice by a butterfly, or, in the case of "The Heart of the Matter," 1992, two intertwined hearts. This piece also contains an ominous depiction of Charon (or perhaps Hades), ferryman of the dead, a welded assemblage of a bronze face, collar, and horns. This being is seen in other works, such as in "Variation of a Constellation" in the center of the wooden wheel.

Boghosian also presents Orpheus as a figure wearing a conical hat, seen in "Breaking Through (Black)," and "Four Short Stories," 1993. Contemporaries like Joseph Cornell were drawn to creating a contained collection of objects within a frame, disrupting the typical flat painting with layers of objects, even inviting viewers to touch and physically interact with the piece. Boghosian's constructions don't need to be invited to interact with you, they are already on your plane, even when encased in a frame they still pop out of it.

In "Breaking Through (Black)," Boghosian stretched a worn rectangle of black painted canvas into a wooden frame and intentionally ripped the fabric to reveal the figure of Orpheus emerging from the darkness. The hat reaches higher than the frame, emphasizing the moment of his return to earth, likely seconds before his fateful mistake. Next to this work in striking juxtaposition, "Breaking Through," 1998, depicts Orpheus bursting through the canvas into a beautifully constructed collage of objects in vibrant reds and blues against plain wood, again showing the figure returning to the world of color and life.

Something inescapable when interacting with Boghosian's constructions is his playfulness and whimsy. "Rainbow, Rainbow, Rainbow," 2003, is a diverting combination of a fish shaped baking dish, and a child's stained-glass, framed by the word "rainbow" repeatedly spelled out in tiles. In "Over the Top," 2012, an acrobat launches himself over a wooden top (get it?). If you liked that one, he'll tell you another in "Locked Trunk," an elephant figurine with a padlock fused to its nose. Boghosian also enjoyed poking fun at fellow artists. Poor Van Gogh, Boghosian's portrait of the artist, "Vincent (Ear and Letters)," 2006, is simply that, an ear, and cut out letters spelling 'Vincent' over and over again. "For Max Ernst," 2013, is a collage of a paper doll in front of geometric wallpaper. The doll's face is nothing but a white circle, perhaps referencing Ernst's tendency to obscure, or even completely remove women's faces in his paintings and collages. "Swan for Marcel," 2011, is one of Boghosian's more cluttered collages, a collection of images hinting at Duchamp's found objects.

 

Rainbow, Rainbow, Rainbow

 
 
Over the Top

Over the Top

 
 
Swan for Marcel

Swan for Marcel

 

Boghosian's work dances between and through the movements of Dada, assemblage art, and surrealism in conversation with artists like Cornell, Ernst, Duchamp, Dali and others. He is also a style completely unto himself. Viewers not only see glimpses of the artist in the constructions he creates, but in two self-portraits, "Self Portrait of the Artist as a Young Man," 1989, and "Self Portrait as a Lion," 2006, two very different choices by Boghosian in self-representation. The earlier portrait is a small child with patched clothes, hard at work constructing with bright blue paper and a butterfly, in the later one he presents himself as the assemblage, a man with a lion's head.

 
Self Portrait as a Lion

Self Portrait as a Lion

 

"Fragments of Memory" is a profound delight. Visitors are inspired to move back and forth between each piece, finding details and thinking where have I seen that before? What does it mean when it's here in relation with this object, versus another one? There's another butterfly! Every fragment he collected and used in his constructions had a story already, he just told it a little differently. Along with the objects the stories themselves became his materials, everything was endowed with meaning, and in true enigmatic fashion, he chose whether or not to show you all of it, keeping us, his students, curious and inspired.

Reposted with permission from Artscope Magazine.

Caprice Erickson Discusses Significance of Armenian Museum Collection at Mass History Conference

On June 2, our Collections Manager Caprice Erickson presented a talk at the Mass History Conference on "Empathy in Museum Collections: A Glimpse into the Collection at the Armenian Museum of America” at the University of Massachusetts, Amherst.

This year’s conference theme, “Connecting and Caring Through History,” encourages us to reconnect with our communities and the “why” behind what we do. With a myriad of digital and traditional tools at our disposal, there are more ways than ever to make history public. How can we offer interpretations that tell diverse stories and bridge the gap between past and present?

“With a vibrant culture and an ancient history, Armenians add an ornamental thread to our diverse social tapestry in America. Connecting with their history helps us understand why many Armenians came to America and can also encourage us to reflect on how our own ancestors came to be here,” said Erickson during her illustrated talk.

Caprice Erickson obtained her BA at the University of St. Thomas in Houston in History with a concentration in Irish Studies and Russian Studies. In 2018, she received her MLitt in Museum and Gallery Studies from the University of St Andrews in Scotland, where she conducted research on the intangible cultural heritage of the Scottish Gaelic language. Before joining the Museum in 2024, she worked at Houston’s Holocaust Museum.

Haig Hovsepian Kicks Off New Concert Series Music in Color

We are proud to announce the launch of Music in Color, a dynamic new concert series and Artist-in-Residence program led by acclaimed Armenian-American violinist Haig Hovsepian. This exciting initiative, generously supported by Nancy Kolligian, aims to bring engaging musical experiences to the Museum’s Adele and Haig Der Manuelian Galleries while deepening public connection to Armenian culture through music.

Kicking off the series, Hovsepian will be joined by Chilean-American pianist Matias Nestor Cuevas for a powerful inaugural performance that promises both artistic excellence and cultural depth.

The Music in Color: Artist-in-Residence Program is designed to foster meaningful engagement with the Museum's exhibitions through live performance, educational elements, and cross-cultural collaborations. Through this program, visitors will experience the rich tapestry of Armenian musical heritage alongside global musical influences in a unique gallery setting.

Haig Hovsepian, praised by violinist Ilya Kaler as “one of the most gifted musicians of his generation,” is a versatile performer with a background spanning classical, Armenian, and jazz traditions. He has performed at prestigious venues including Carnegie Hall, Symphony Hall, and the Koussevitzky Music Shed, and has appeared as a soloist with the Boston Pops Orchestra and others. Hovsepian studied at the Cleveland Institute of Music and is also a dedicated educator and community advocate.

Matias Nestor Cuevas, a celebrated pianist known for his emotionally expressive performances and a deep commitment to reviving the 19th-century salon recital tradition. A graduate of Kevin Kenner at the University of Miami’s Frost School of Music, Cuevas is a multi-award-winning artist with performances across Europe and the U.S.

“We are thrilled to present Music in Color as a way to highlight both the vibrancy of Armenian musical traditions and the contemporary voices carrying that legacy forward,” said Sarah Hayes, Director of Development. “Haig Hovsepian brings a rare depth of artistry and cultural insight to this role, and we are excited for our visitors to experience his work in our galleries.”

The inaugural concert will take place on Thursday, May 22, from 6:30 to 8:30 PM in the Adele and Haig Der Manuelian Galleries at the Armenian Museum of America. Stay tuned for more details on this performance and future events in the Music in Color series.

Fragments of Memory Presents Artist Varujan Boghosian

The Armenian Museum of America of Watertown (Boston) recently announced a new exhibition of 45 works by Armenian-American artist Varujan Boghosian. “Fragments of Memory: The Art and Legacy of Varujan Boghosian” offers a rare opportunity to experience the elegant, poetic constructions created by an artist who left a profound mark on the world of contemporary art. Curated by Ryann Casey, the exhibition is sponsored by the Alan and Isabelle Der Kazarian Foundation.

Varujan Boghosian, “Self-Portrait as a Lion,” 2006, Framed Collage, 21 x 16.5 in, from the collection of Heidi Boghosian

Varujan Boghosian (1926–2020) was more than just an artist; he was a mentor, a teacher, and a friend to many. He greeted everyone with warmth and generosity, making even perfect strangers feel like long-lost friends. His welcoming nature was particularly evident at Provincetown’s Berta Walker Gallery, where his encounters often left visitors with a newfound understanding of art and literature, and with smiles that carried the spirit of his personality. Boghosian was deeply committed to supporting young artists and fostering creativity in the next generation.

“Working only with found materials, Varujan created constructions and collages through the use of old and discarded objects. In the resulting elegant works, we find that the old and ordinary have been endowed with wonder and mystery, wit and pathos,” said Berta Walker. “Boghosian used his carefully culled raw materials to create works of pure and lyric visual poetry. Haiku in found objects.”

“Boghosian’s work is inspired by the past, by an appreciation of the lives and legacy of myth, of people and objects that have gone before, and a love of images and iconography. He is a sculptor, assembler, constructionist, beachcomber, scavenger, collector, historian, and conservator, and gathers the relics of our common experience, transforming them, often with humor, into poetic tributes,” wrote Gillian Drake in Cape Arts Magazine.

Boghosian was born in New Britain, Connecticut. His father emigrated from Armenia in the aftermath of the Genocide and was a cobbler, before going to work in the Stanley tool works. After serving in the Navy during World War II, Boghosian attended the Vesper George School of Art in Boston. In 1953 he received a Fullbright Grant and went to Italy. When he returned, he became a student of the influential Joseph Albers at Yale School of Art and Architecture.

Boghosian is an award-winning artist who has been presented in museums across the country and is in public collections including the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of America Art, the New York Public Library, and the Philadelphia Museum of Art. He was a phenomenal teacher, holding positions at Yale, Brown, and Dartmouth.

“This exhibition was an incredible collaboration. Last year when the artists’ daughter Heidi Boghosian contacted the Museum about donating his work to our collection, Executive Committee Member Joan Agajanian Quinn led the process of selecting 10 of the works that would represent his various styles and exhibit well together,” explained Executive Director Jason Sohigian.

“Once we decided to exhibit the works, Curator Ryann Casey worked with Heidi to select another 28 works from her personal collection,” he continued. “From there, the Berta Walker Gallery loaned nine larger works for the exhibition to round out the scope of work. The end result is sure to impress visitors to our Adele and Haig Der Manuelian Galleries!”

Ryann Casey is a New Jersey-based curator, artist, and educator. She holds a BA in Photography from Stockton University and an MFA/MS in Photography and Art History from Pratt Institute. Casey is the Exhibitions Coordinator at Stockton University Art Gallery and teaches Photography, Art History, and Critical Theory as an adjunct professor.

Over the past two years, Casey has curated exhibitions at the Armenian Museum including “Ara Oshagan: Disrupted, Borders,” “Gandzaran! Notable Selections from Our Collection,” and “Filtered Identity: The Art of Tigran Tsitoghdzyan.”

The opening will take place on Saturday, April 26 at 6:30 pm, and offer an opportunity to meet the artists’ daughter Heidi Boghosian and network with fellow art enthusiasts. Guests will have the chance to view the artist’s poignant and transformative works, which resonate with themes of mystery and human experience.

The Armenian Museum of America is committed to preserving and sharing the rich cultural heritage of the Armenian people through art, history, and education. The museum serves as a vital resource in the Watertown Cultural District and welcomes visitors from all backgrounds to learn about and appreciate Armenian culture. The galleries in Watertown (Boston) are open Thursday through Sunday 12:00 to 6:00.

Governor Maura Healey Declares April Armenian American Heritage Month

Massachusetts Governor Maura T. Healey has proclaimed April as Armenian-American Heritage Month and urged all residents of the Commonwealth to participate fittingly in its observance. We think that translates into, Visit the Armenian Museum in April!

The official proclamation was initiated by high school student Anahit Marutyan, and we could not be more proud of her accomplishment.

The following is a few excerpts of the proclamation:

Armenian-Americans have made significant contributions to the cultural, social, and economic fabric of Massachusetts, enriching the state with their traditions, values, and entrepreneurial spirit.

The initial migration of Armenians to the United States occurred due to the horrific large-scale massacres of the Armenian population by Sultan Abdul Hamid. During the Armenian Genocide, 1.5 million people were killed, deported, or forcibly converted. Armenian migration to Massachusetts continued after World War II and the collapse of the Soviet Union.

The early Armenian settlers sought physical safety, freedom, and liberty of conscience, which has empowered them and their descendants to prosper for generations.

In acknowledging the enormous challenges and sacrifices the Armenian people faced over these years, we reaffirm that the Armenian culture is an integral part of American culture, with strong influence across all spheres of life.