Farewell to the Renwick

I said goodbye to the Renwick Gallery today.  Not forever, I'm happy to say, but for about three years, which is bad enough.  They're doing some major renovations (which I have no doubt are necessary), and that means the building will be closed to visitors, beginning in December and continuing until 2016.  I'm just hoping the construction stays on schedule, and I won't be waiting even longer to return to one of my favorite Smithsonian museums.

If you've not been to the Renwick, run right out and see it before early December when it closes.  It's off the beaten track, as far as museums go.  It's across Pennsylvania Avenue from the White House, next to Blair House.  It's part of the Smithsonian American Art Museum, and focuses on American craft.  Currently, there are two rotating exhibit spaces on the main floor and the permanent collection (which closed on October 1, before I could get over there - another reason to detest the government shutdown) on the upper floor.

The permanent collection has already been removed.  I don't know whether they'll try to find room for some or all of the pieces elsewhere - maybe at the American Art Museum? - or if they'll simply put the items in storage.  Maybe things will rotate between storage and display?  Maybe they'll put some things in the Castle?  If only the Arts and Industries Building was open, they could set up shop there.  Oh well, they'll re-open in time, no matter what they do with their collection now.  Here's what I saw today before the doors close for the present:

Grand Salon Installation: Paintings from the Smithsonian American Art Museum

When: through November 11, 2013

If you want to have a look at the Salon arrangement of paintings, hurry over, as it closes on Monday.  As I mentioned in one of my recent posts, I just don't like this style of presentation.  Today's visit did nothing to change my mind.  I find that I can't really concentrate on any one painting, as I'm being constantly distracted by something else.  I tried to determine why the paintings had been hung as they had, but, although some of the pieces did seem to go together, I found myself shaking my head in confusion a good bit.

It's also hard to see the paintings.  I was craning my neck trying to see the things hung at the top, which does not make for a comfortable way to pass the time.  The room itself is lovely, and a great space for this type of display; it's just not to my taste.

I was happy to see several pieces by Romaine Brooks.  One of them, her "Self Portrait" had been featured in the National Portrait Gallery's Hide/Seek.  I recognized it immediately (which is always an ego boost), and was happy to see other of her works.  She has a definite style to her work, so once you've picked up on it, you can see others quite quickly.  It was nice to see the piece again, rather like running into an old friend unexpectedly.

Verdict: If you like the salon style of display, don't miss this opportunity to see what I suppose is an excellent example of it.

Infinite Place: The Ceramic Art of Wayne Higby

When: through December 8, 2013

I was unfamiliar with the work of Wayne Higby before I saw this exhibit, and I'm glad I made time to have a look.  His stuff is very interesting and unlike anything else I've seen.  To say his ceramics are three-dimensional doesn't really do them justice.  They are commonly interpreted as 3D landscapes, and I see what the people who describe his work this way mean.  It's as if a landscape painting has leapt off the page and emerged as an topographical object.  It's hard to describe, but very neat to see.  Higby doesn't care for this description, as he finds it too limiting.  He likes to say that the viewer can imagine an infinite expanse in his ceramics; that they are limited only by their own imaginations.  I confess, the 3D landscape description is the best I can come up with!

Higby has also done work in tiles.  His pieces tend to be major installations in public buildings and corporate headquarters; no small scale stuff here.  Obviously, only a sampling of his work is on display, but between that and the photographs of the full works, you get a sense of what he's doing.  I'd very much like to see one of his full works; they looked very impressive.

Although Higby is from Colorado and much of his work has a decidedly Western feel to it, one of his series of bowls was inspired by his trip to the Maine coast.  It's always nice to see something with a Maine connection (I've spent many happy days in the state, visiting friends), and these were very fine pieces.

Verdict: Don't miss this show if you like ceramics; Higby's work is fantastic.

A Measure of Earth: The Cole-Ware Collection of American Baskets

When: through December 8, 2013

I ended my visit to the Renwick with a look at this lovely show on American baskets.  Steven Cole and Martha Ware have given the Renwick a wonderful collection, all of which are functional, made from natural materials harvested by the basket makers.  People making baskets this way live a life that is far removed from urban or suburban America.  Their lives are lived in rural communities, where they can find their raw materials easily, or else they are spent seeking out raw materials.  In either case, their lives are a journey of collection and creation.

Theirs is also a dying art, as most people purchase cheap plastic baskets when they need them.  Even in the heyday of basket making, it never paid well, and when people no longer had to make baskets, they stopped and turned to more lucrative pursuits.  The only exception to this rule is the seagrass baskets in South Carolina, where the craft is passed down from one generation to another within families, and the tourists are happy to purchase them.  I particularly liked the baskets made by Darryl and Karen Arawjo (not sure if they're a married couple, or brother and sister or what).  Also, Jeffrey Gale's baskets reminded my very strongly of baskets I've seen at the local craft fair year after year.

The other great thing about this exhibit is the "hands on gallery."  You can actually touch the baskets, which is a great way to appreciate and understand the craftsmanship.  I only wish more museums would try to incorporate more things you can touch.

Verdict: A great show, especially if you like basketry.

Sense of Place: Landscape Photographs from Asia

Where: Sackler Gallery

When: through November 11, 2013

If yoga is not your thing, or if you've seen enough of this big show and would like to look at something completely different, wander over to the other side of the Sackler and see some more contemporary art, landscape photographs. 

This is the first in a series of shows highlighting the gallery's photography collection, so if this appeals to you, you're in for further treats to come.  Although one might associate the Sackler with ancient treasures, it is committed to collecting modern works as well, and this series is meant to emphasize that commitment.

This two-room display features artists from Iran, China, Japan and Vietnam, a wide survey of Asian photography.  My favorite of the pieces is the one pictured above, entitled Cherry Blossoms by Moryama Daido.  A great quotation from Abbas Kiarostami, which is part of the show commentary, is "Nature has no particular culture or ethnicity."  Perhaps that's why I'm able to appreciate Asian landscape painting so much?  I don't need to be an expert in a culture so different from my own; I can simply appreciate the natural beauty depicted.

Another artist whose work is on display is Hai Bo.  I'm sure I've seen him before - perhaps as part of the "Perspectives" series?  Wasn't he the one who returned to the same spot over the course of a year and drew the different seasons as reflected in the trees?  I feel certain that's right...

Verdict: A nice small show, easily managed in a lunch hour; in fact, you could combine it with the Strange and Wondrous show, or with a look at the current "Perspectives" display in the main atrium.

Black Box: Gerco de Ruijter

Where: Hirshhorn Museum & Sculpture Garden

When: through November 12, 2013

Much as I have my issues with the Hirshhorn, I've always enjoyed the "Black Box" series.  Featuring artists who use videos as their artistic medium, they're quirky, odd films that I remember long after I've seen them.  This offering, by the Dutch artist Gerco de Ruijter, is a very short (only 4 minutes) film of center pivot irrigation plots in the American southwest.  Gathering images from Google Earth, de Ruijter synced them to a score by Michel Banabila.

The commentary outside the room discussed the tie between this film and Dutch still life paintings.  The idea is that both of these are meant to explore issues of ripeness and decay.  I found myself reminded quite strongly of a countdown clock, of the sort that used to appear before films.  I also thought of vinyl records playing on a turntable - something I'm sure would not suggest itself to younger viewers.  There's one point in the film that my eyes seemed to see a tunnel appear on screen - I'm guessing that's due to the rapid movement of the circular images.  And rapid is the word; the images each go by so quickly that you really can't focus on any one picture.  You can see only the overall idea.

Verdict: Go see this film; it's another good installment in this always intriguing series.

Inventing a Better Mousetrap: Patent Models from the Rothschild Collection

Where: Smithsonian American Art Museum

When: through November 3, 2013

Every so often, the American Art Museum puts on a display dealing with patents, I assume due to the fact that the museum (along with the National Portrait Gallery) is located in the old Patent Office Building.  This small show contains several patent models from the largest existing collection of these items.

From 1836 - 1868, over 200,000 patent models were displayed on the top floor of the Patent Office Building, and in the 1850s, over 100,000 visitors per year came to see them.  Unlike in other countries, in the United States, an inventor had to submit a model along with a written description of the item in order to obtain a patent.  This was due to the fact that the patent examiners of the time lacked the sophistication to evaluate a patent without a model.  A whole host of model-making shops sprung up in the neighborhood surrounding the building (the neighborhood where my office is located).  In 1870, models were made optional, and in 1880, they were actually prohibited unless requested by the Commissioner of Patents.

This display consists of various models submitted at the time that these were required; one of them is a model for an imitation feather (made of colored yarn or thread) that was for one of the rare patents granted to a woman, Henrietta S. Orttlopp.  Another actually is a "better" mousetrap; a complicated device that involved the mouse taking a piece of cheese and then falling through a trap door.

Sadly, fire destroyed many of the models, and the need for office expansion led to the disposal of those that remained.   Some were returned to their original patent seekers, the rest were sold piecemeal to various collectors or other interested parties.  Alan Rothschild, a businessman from Cazenovia, NY, bought over 4,000 of them and has them on display in his home (which one can only imagine is quite large).  All of those on display here are from his collection.

Verdict: An interesting little show - easily managed in a lunch hour.  Recommended if you have an interest in the Penn Quarter neighborhood or the Portrait Gallery/American Art building.