A Day in the Life: Artists' Diaries from the Archives of American Art

Where: Archives of American Art


When: through February 28, 2015

I've been to many of these little shows from the Archives of American Art, and I'm starting to wonder if perhaps the way they decorate the room is the best part of the display?  The archivists, or whoever is putting these up, transform the space, so that from one exhibit to the next, you wouldn't even realize you were in the same room.  The colors, the designs on the walls - it's all very well done and very interesting.  I see the title of the new show, and I think, "What will the room look like this time?"

One wonders, though, if this is the response the sponsors of the show want.  Would they perhaps be dismayed that I'm coming more for the style than for the substance?  Or are they happy someone's stopping by, regardless of the reason?  I won't say I'm the only person who looks at these, as there's usually at least one other person in the room with me when I visit, but I will say it's never been crowded.

Archival documents are usually not block-buster items.  Setting aside the founding documents at the National Archives, mostly archives are records of an institution - important, yes, but not exciting.  This archives is slightly different, in that it's composed of records created by and about American art, which, I grant you, is inherently more interesting than records about a widget factory.  Still, though, these are records, and they lack drama.

The current offering is about artists' diaries.  Some of them are illustrated, which is nice, and some of them are of an unusual shape - like the one pictured here, which is a huge set of little tablets.  Otherwise, though, they're diaries, and unless you're going to sit down with one and read it cover to cover, developing an interest in the author's family and friends, it's hard to find them terribly enthralling.

Plus, there's the voyeur aspect of reading that which was not meant for me to read.  In fact, the wall display this time includes a quote from Blanche Lazzell, a printmaker, who wrote in her diary that it was intended for no one's eyes but her own, and she hoped it would be burnt upon her death.  Apparently, whoever had charge of her effects didn't follow her wishes.  It made me think of the controversies over the "right to be forgotten," and the lack of privacy in electronic communications.  No matter the technology, we want to have control over how we present ourselves to the world, and we don't always get it.

One of the offerings on display was a "video diary" by Joe Hollier, an artist, filmmaker and animator.  No worries about an invasion of privacy here, but is this really a diary?  It's described as being non-chronological, and isn't that the essence of a diary?  Food for thought...

Verdict: If you're interested in the lives of artists outside of their art, stop by and have a look.  Otherwise, I think you can give this a miss.

The Singing and the Silence: Birds in Contemporary Art

Where: American Art Museum

When: through February 22, 2015

It's funny how some times I'll have expectations for a show, that it will be good, or bad, or will feature certain types of art.  I thought this would be Audubon prints and large scale paintings from the 1800s, but I could not have been more wrong.  The vast majority of the works in this show are modern - in some cases, very modern.  There's a lot that's wild and a lot that's weird and an enormous amount to like. The wall notes at the beginning of the show describe birds as "winged wonders that surround us daily," and I think winged wonders is a great way to describe this show.

My favorite artist on display is Fred Tomaselli.  The colors he uses are wonderful, and his work has a psychedelic quality to it.  In addition to paint, he uses leaves from his own garden in his work, which provide a touch of realism amidst the trippiness of his efforts.  I found myself thinking that, if I owned one of his paintings, I could look at it a very long time before I would stop finding elements I hadn't noticed before.

Of course, what catches the eye immediately is the giant sculptures (if sculpture is the right word, and I'm not sure that it is, but I can't come up with any other word that's better) by Petah Coyne.  They're very tall, with taxidermied birds and squirrels.  They look vaguely like trees, but also vaguely like big piles of flowers - you really have to see them to appreciate them.

Then there's Laurel Roth Hope's birds, made of human adornments - earrings, barrettes and fake fingernails.  Somehow, using these unlikely materials, she manages to convey the movement of the birds; you almost expect them to rise up and fly away.  And there's a set of extinct birds, most of the ones in the Lost Bird Project.  They're pigeon mannequins, with sweaters knitted in a pattern showing their coloring - a reminder to appreciate the wonders of nature before they vanish forever.

Finally, I must mention the mural outside the exhibit space.  It's a recreation of the end papers in Peterson's Field Guide to the Birds.  I can remember my parents using this book frequently to identify birds in our backyard when I was a child, and the mural brought it all back to me.  It's great to have a personal connection to art, to have it remind you of a part of your life you had forgotten.

Verdict: This is the best show I've seen in a long time, and I recommend it highly.

El Greco in the National Gallery of Art and Washington-Area Collections: A 400th Anniversary Celebration

Where: National Gallery of Art

When:  through February 16, 2015

This year is the 400th anniversary of El Greco's death, and the National Gallery has decided to mark the occasion by displaying several of their own El Greco paintings, along with three from other local collections.

The exhibit takes up only one room, so I had plenty of time to examine each work in detail.  I've decided that El Greco is a sort of bridge between the Mannerist artists of the 1500s and the abstract painters of the 20th century, especially Picasso.  His elongated figures, who often seem to be in tortured poses, remind me of the exaggerated people of the Mannerists, but also of Picasso's early work.  It's not that El Greco's figures are completely abstract, but they're not completely realistic either.

If you like religious art, you'll find much to enjoy here; he lived during the Counter-Reformation in Spain, and his work reflects the religious fervor of the times.

Verdict: An interesting small show, nothing like as large as the El Greco retrospective I remember from 1982.  You can see this and the lovely holiday decorations in the Rotunda in a lunch hour.

Richard Estes' Realism

Where: American Art Museum

When: through February 8, 2015

It's easy to get so caught up in the realism of Richard Estes' work that you miss the artistry in his pieces.  You could easily mistake almost every painting for a photograph - they're that crisp and detailed and "real" looking.  Once you've marveled at how paint can look so much like toner, however, look again and see what else is going on.

In every piece, you can see the theme of repetition and multiplicity.  Whether it's the arches in his Roman bridge, the stacks of books in the National Gallery of Art library or the telephone booths outside a diner (pictured here), you see the same element repeated over and over again.  In one piece, he deliberately repeats his painting through the use of a mirror effect.  As much as we want to believe that we are unique individuals (special little snow flakes, as I like to say), Estes shows us that the world in which we live is made up of similar, if not identical, pieces.

Another theme that you see in many of his works is that of travel, especially travel over water.  He incorporates bridges as well as boats, showing people moving from one side of the water to the other.  Some of them are commuters on their way to work; others are on vacation, headed for an island destination.  Movement, no matter the purpose, is what he portrays - both the movement of the water and of the people on the water.

Motion and multiplicity are what you see, if you can stop marveling at his technique long enough to appreciate them.

Verdict: The show is well laid out, in a large space.  Because there are only a few paintings in each area, you can make your way through quickly, leaving you time to stop and admire the craftsmanship.

From Neoclassicism to Futurism: Italian Prints and Drawings, 1800–1925

Where: National Gallery of Art

 When: February 1, 2015

It's been a while since I saw this show - I wasn't very impressed with it, so it was hard to summon up the energy to write a blog post, especially since I had holiday-related activities to occupy my time.

The wall notes tell you that Italian art from this period (Napoleonic Era through the creation of the Italian nation up to the rise of Fascism) tends to be overlooked in favor of the art of other countries, particularly French art.  Considering that the Impressionists were working at this time, it's easy to see how other art might languish unnoticed.  On the other hand, if this selection is anything to go by, the Italians weren't really producing anything fabulous at this time, so maybe they have only themselves to blame?

The National Gallery is actively building a collection of Italian art from the 19th and early 20th centuries - let's hope that something more impressive arrives to represent the time period.

 Verdict: If you are a devotee of prints and drawings, or a scholar of Italian history, make time to see this exhibit.  Otherwise, don't let it interfere with your holiday plans.

Modern American Prints and Drawings from the Kainen Collection

Where: National Gallery of Art

When: through February 1, 2015

I make a point of going to every new exhibit at the Smithsonian and National Gallery of Art, even if I think it's something that won't appeal to me.  I've discovered some wonderful things this way, most notably Yinka Shonibare, my favorite artist.  It had been a while since I'd been pleasantly surprised by a show, and as I looked at the description of this one, I confess I was less than enthused by the idea of seeing it.

But I'm nothing if not dedicated, so over to the National Gallery I went, and what should I discover but a new artist to like!  His name is Louis Lozowick, and I fell in love with his drawings, which are in the first room of this small show.  Some of his pieces show a tremendous precision of line, including Still Life #2 and others an exuberance of subject, like Luna Park.  All of them are quite fine, and I'll be on the lookout for more of his work in other exhibits I see.

Overall, I liked the works in the first room better than the later works, on display in the second room.  Post-WWII modern works just don't do it for me.

Verdict: This is a small display, so easily combined with something else on offer.  It's a nice overview of the Kainen's collection in this area, and we can look forward to seeing more of their generous gift in exhibits to come.

Untitled: The Art of James Castle

Where: American Art Museum

When: through February 1, 2015

It's not often that I see an exhibit and really have no idea what to make of it.  I might like something or dislike something, but I can't remember the last time I went to a show and had no idea whether I liked it or not.

Here's what I do know:  James Castle was a profoundly deaf man who never learned to communicate with others in any conventional way.  He could not read lips or use sign language, nor could he read or write.  He lived in rural Idaho with his family and created many drawings.  He used paper he found around his family's home and made a kind of ink out of soot and his own saliva.  His works depict the small town and farmland that were his surroundings.

So are these works of interest to us because we're trying to figure out what he's saying?  Or are they of interest because they stand on their own merits?  Would we put them in a museum or add them to private collections even if Castle were able to communicate in ways the general populace could understand?  Are they art, or are they a curiosity?  On another level, we're assuming that Castle is trying to communicate through his art, but is this really true?  Is there something he wants us to understand or is he merely passing the time?

I left the show with more questions than answers and a sense that the questions are not capable of being answered.  The one thing I can say is that James Castle's work is the ultimate example of outsider art.

Verdict: I'm not sure I have one, which is a first since I started writing this blog.

Watch This! New Directions in the Art of the Moving Image

Where: Smithsonian American Art Museum

When: through February 15, 2015

I love visiting the third floor of the American Art Museum/Portrait Gallery.  The floor, the walls and the windows are a riot of color and pattern - no subtle earth tones here!  I don't know when this decorative scheme would have been chosen, but I love its excesses.  Even if the show I see there isn't much to my taste, at least I've been given my smile for the day by the decor.

Happily, my most recent trip to the third floor was enjoyable for the show as well.  A new permanent addition to the collection, this is a rotating selection of video offerings; I was reminded, in a good way, of the Black Box and Directions series at the Hirshhorn.  I think art galleries and museums overlook the "moving image" as the title calls it, and it's good to see the Smithsonian continuing to celebrate it.

The film pictured here is "Fall Into Paradise."  A pinprick of light develops gradually into two people in an embrace, then, all of a sudden, they fall into a body of water.  The splash is startlingly loud - I jumped a bit, but the group of young people who watched it after me actually screamed with surprise.  I like this video - although it takes a while for the action to develop, your patience is rewarded in the end.

"Six Colorful Inside Jobs" is a series of people painting a room.  First, it's entirely red, then orange, then yellow and so on.  I know, I know, who wants to see something that perilously akin to watching paint dry?  It's hypnotic, really - the action is sped up, so it only takes a couple of minutes to paint the room, rather than a couple of hours.  And it's neat to watch one color give way to another.  It reminded me of "Floating McDonald's."  You know what's going to happen, but it's riveting in its own way.

Less successful than either of these offerings is "Walk with Contrapposto, " which features the artist walking back and forth along a narrow corridor, striking poses along the way.  Perhaps something else happens as well, but I couldn't stay interested long enough to find out.  Nam June Paik is also represented here (I recognized the piece as one of his - kudos to me) with "Zen for TV."  It's an old television set with video playing of a straight line, almost like when TV used to go off for the night (imagine!!) and you'd get the test pattern.  It's about as interesting.

Verdict: It's batting .500 for me, which is an admirable average.  I look forward to more installments in this series.

Ceramica de los Ancestros: Central America's Past Revealed

Where: American Indian Museum

When: through February 2, 2015

This is a very large exhibit of Central American pottery, in the big display space on the 3rd floor of the museum.  I didn't have time to do more than skim through, but if you like ceramics, you may want to take some time and look at these on display.

Ceramics are an anthropologist's dream find.  Unlike wood or cloth or most other materials, ceramics remain constant through the ravages of time.  Of course, they can be broken, but even pottery shards can provide useful information on the people who created them.

My first thought upon entering this exhibit was that the works on display reminded me strongly of traditional African art.  Depictions of both people and animals are prevalent in the carvings, and one has the sense that all of the items on display were actually used by people and were not merely designed to sit on a shelf and look pretty.

Apparently, Central American art works and crafts have suffered a fate similar to Asian statutes - collectors have visited the area and taken what they wanted, leaving the countries to whom these items actually belong without their treasures.  Happily, in this instance, what you see on display are not damaged goods (like the Buddha statutes missing heads or hands) but intact pieces.  What's more controversial is that you're seeing them here and not in their home country.  I always have a bit of a hard time with this.  If nothing ever left its place of origin, I wouldn't be able to see it (I can't go to Guatemala on my lunch hour), so it seems a bit hypocritical of me to decry the movement of art around the world.  In the case of many Central American pieces, there was a feeling that the local governments wouldn't be able to safeguard this art, so it was removed from the country for safekeeping.  I guess I'd like for some art to remain in the US and some art to go back to where it "belongs."  Sort of a wishy-washy position I guess.

Controversy aside, there's lots to see here, and I found the arrangement a bit confusing.  I wasn't sure where I was supposed to turn next to see everything - a bit more clarity in the signage would have been good.  I liked the things I saw, although nothing really jumped out at me as wonderful.  I was reminded both of shows I've seen at the African Art Museum and at the Freer/Sackler, proving yet again that for all of the differences between cultures, there are also similarities.  This collection includes not only kitchen ware, but also musical instruments, jewelry and figurines.  If you're interested in interpreting the meaning of the animal representations, there's a chart that explains what everything means.

I was reminded by this show that native peoples are not confined to the continental United States.  Many indigenous communities still exist in Central America as well.  Through the items their ancestors made for use in their everyday lives, we can gather an enormous amount of information about how they lived.

Verdict: If you go on a lunch hour, plan on getting strictly an overview.  If you want to take your time, plan on spending more than an hour.