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During the 1990's through early 2000's, Boston experienced (at the time) the largest single transportation re-organization ever undertaken in the United States. The Central Artery/Tunnel project came to be known as "The Big Dig" throughout Massachusetts and across the country. As with any such enormous task, there were the inevitable cost over-runs, massive disruptions to traffic patterns and even some significant changes to neighborhoods within the projects path. People came to either love it, or hate it. Those lines were most obviously split down those who stood to gain from the final result, and those who had to live through it. In the end (or at least as it stands now 15 years later), the general consensus is while it may not have met all the expected goals for easing Boston's notorious grid-lock, and the final bill was, well let's just say, impressive (?), removing the old surface/elevated roadway created an expanse of open, public green space, allowed for the majority of the downtown area to have improved access to the waterfront, and probably mitigated significant traffic concerns as the population and workforce density of the city continues to follow rapid growth.
One benefit to the artist community was the mandate of the CA/T Artist's Access program, a community organized effort to provide creative artists access to live construction zones within the CA/T footprint, and mingle among the men & women working on the project. Participating artists included photographers, videographers, painters, sculptors, spoken & written word artists, audio recording artists and many who fit various combinations of each. In the final days of the construction project, selected artists from the program were invited to produce and exhibit a collection of sample works created through the CA/T-AAP.
These pieces are the remaining original custom framed prints that Jeff produced for the traveling exhibition. Where necessary, repairs and refinishing has been undertaken by the artist to restore any damage resulting from transportation and imperfect display conditions.
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The print media, processes and inks selected for our production room are museum grade archival materials, and have demonstrated tremendous stability when displayed in appropriate environments. It is best to avoid storing or hanging fine art in areas where the frame, glazing and image area are subjected to direct sunlight for extended periods, or where conditions such as high humidity or other air borne contaminants are frequently present.
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