National Parks in Stamps

Where: National Postal Museum

When: closing March 25, 2018

After I saw the spectacular "Post Secret" show at the National Postal Museum, all thought of dropping that venue from my museum rounds vanished.  This was the first time I'd been back since seeing one of my favorite shows of 2017 there, and, although this was not up to that standard, it was interesting and worth the trip to the Union Station area.

More perhaps about the National Parks than about stamps, many intriguing artifacts were on display including: Ansel Adams' stamp album, a Ranger uniform from the 1920s (pretty much identical to uniforms today) and a Yellowstone Hotel Owney badge (Owney was the small dog who rode on the mail trains in the 1890s, and people everywhere gave him little tags to wear).

I learned that Yellowstone was the first National Park, not just in the United States, but anywhere in the world.  It became a model for other national parks here and in other countries.  Truly, in a list of things that the United States has done to improve the world, the National Park system needs to appear.

Both Theodore and Franklin Roosevelt are commended for their service to National Parks.  Never forget: it's thanks to Teddy Roosevelt that the Grand Canyon is preserved for future generations and not overrun by developers.  And FDR's Civilian Conservation Corps made improvements in the parks that are still used today.

I also saw a beautiful stamp of Wolf Trap, one of my favorite places to see a concert or play.  I would love to have a print of this stamp - I must investigate if that is available...

Verdict: If you like the National Parks, be sure to check out this show.

The New York-Mexico Connection

Where: Smithsonian American Art Museum

When: closing March 18, 2018

Good news for museum-goers in DC: the government will not shut down before January 19!  Although it may shut down then, we still have a few weeks to see wonderful things, and I've been rushing to visit as much as I can.

If you can wait until next week to visit, I'd advise you to do so.  The crowds in the week between Christmas and New Year's Day are always huge and this year is no exception; I always assume they're people from out of town whose local hosts need some quiet time and send them to the Mall to have their house to themselves for a bit.  Whoever they are, there are hordes of them.  That Vermeer show I saw a few weeks ago at the National Gallery had need of those ropes to keep everyone in line.  So glad I saw that already.

A show I saw before Christmas was the Rufino Tamayo retrospective at SAAM.  Tamayo was a Mexican artist who spent time in and was influenced by New York City, and this show focuses on the works he created there or were inspired by his time in the metropolis.

This was my first exposure to Tamayo, and I'm not sure that his work is really to my taste.  It's both figurative and abstract, which is interesting, but I just didn't connect with it.  I'm willing to believe the fault is mine.  The work pictured above is one that made me think of the phrase "setting loose the dogs of war."  It's both disturbing and thought-provoking.  You'll notice there are bones at the dog's feet, but they pay no attention in their zeal to attack.

Verdict: Not really to my taste, but if you are a fan of his work, or are interested in Mexican art, I would recommend a visit.

A Truth That Will Not Be Contained

Where:  American Art Museum

When: through March 11, 2018

At first, I wasn't really sure what I was looking at in this show.  Walker's work is taking reproductions of 19th century texts and superimposing silhouettes of African-Americans on them.  I was trying to make the text and original illustrations match up with the silhouettes and was really struggling to find a connection I was sure had to exist.

Then, as I read the wall notes in the second room, I realized that there is no connection.  The silhouettes exist on their own, apart from what we have been told is the historical record.  How could there be a connection, when the stories of African-Americans have been deliberately left out of the official descriptions of the Civil War?

The wall notes as you enter the show describe Walker as "...transform[ing] the genteel 18th century portrait medium into stark, haunting tableaux."  To me, the work said, "Yes, you can learn all about various battles and generals, and how the Union Army eventually won enough victories to force the Confederate Army to surrender.  But don't forget what this war was really about.  And don't forget the people that some were willing to fight and die to keep in bondage."

Verdict: A powerful show - it packs a real punch.

Carter's Prescient Statement

Where: American History Museum

When: closing March 11, 2018

This is one of those "artifact walls" displays at American History that's probably more informative than entertaining.  I rarely have any company at these exhibits, so I hope some of the curators who clearly put a lot of time into these things see me when I visit.

Solar energy is a way to use a renewable resource to obtain the electricity we all use all day, every day.  During his term in office, President Jimmy Carter installed solar panels on the White House, which President Ronald Reagan subsequently removed.  If the country had continued to research and make use of solar energy throughout the 1980s, we wouldn't be in the climate change predicament we're in today, in my opinion.

One of the solar panels is part of the display, along with a quote from Carter indicating that the panels could be either the beginning of a better way to use the sun to meet our needs, or they could become a museum piece.  All I could do was sigh.

I think Father Drinan was in the photograph of Carter with the solar panels - he would have been a Congressman from Massachusetts at the time; I met him while I worked at Georgetown University - a funny and kind man.

Verdict: Worth a glance if you're in the museum to see a larger exhibit.

Worlds in Miniature

Where: Hirshhorn Museum

When: closing March 4, 2018

Yes, I'm seeing exhibits that won't close until March.  I think this is because there haven't been as many shows up this year, what with the Freer and Sackler galleries closed.

Also, I'm trying to see as much as I can before a potential government shutdown at the end of the month.  Congress agreed to funding that avoided having to shutter the Smithsonian (and the rest of the government too) as of yesterday, but legislation runs out in a couple of weeks.  <sigh> The thought of having to live with the current political situation without my beloved art and cultural escape is not pleasant.

Oh well, perhaps we will be spared this unpalatable fate, and right now, the lights are still on.  So what about this show at the Hirshhorn?

These are models for large installations by a Russian-born American couple; some of them have been realized and others have not.  The one I chose for the blog picture is one that, sadly, as not been realized.  It was intended either for the Bank of Seattle or the Library.  Having visited the Seattle Public Library several years ago, I can say it would have fit right in with the other art on display there.

Although nothing was wrapped, I was reminded of Christo, as I walked around the 2nd floor of the Hirshhorn, looking at these ideas for public art.  Perhaps it's because this all seems a bit mad?  Or because it's meant to be on such a large scale?

Verdict: Worth a look, especially if you're in the museum for the Ai Weiwei show, or to see the Pickett's Charge installation.

Say Cheese!

Where: National Gallery of Art, West Building

When: through January 28, 2018

This is a small show, only two rooms.  It's well sized for a lunchtime outing, and is interesting as well.  It's a tribute to Robert Menschel, who pledged both money and photographs to start and expand the National Gallery's collection.

Spanning a wide time period, from the 1840s through the 1990s, one is struck by the fact that humans have been smiling for the camera for about 170 years.  Compared to painting or sculpture, it's a new art form, but it's been around for a while now.

The photograph that stood out to me the most was one by Robert Frank called "San Francisco."  It's part of his Americans series, and it depicts an African-American man and woman sitting on a grassy hillside looking down at the city.  Becoming aware of Frank's presence, they are turned to the camera, looking wary and ready to rise.  The viewer is uncertain: are they afraid, are they hostile?  Clearly, there is some discomfort there.

Verdict: A fine tribute to a generous benefactor.

Bringing the War Home

Where: National Portrait Gallery

When: closing January 28, 2018

I found "The Face of Battle," the exhibit of portraits of soldiers at the National Portrait Gallery, very moving.  For the vast majority of Americans, who don't know anyone in the military, it's easy to forget that young people are dying in wars on a regular basis.  It's important for all of us to remember.

One of the show's curators noticed that veterans were used as props to sell things, and I was reminded of the fine novel, Billy Lynn's Long Halftime Walk.  This show features the work of six artists, who depict ordinary soldiers and what they've left behind.

Stacy Pearsall's photographs depicted cigarettes and comradeship among servicemen and women as they wait to fight.

Emily Prince has constructed a graphical depiction of those who have died with many pieces of paper, color-coded to match the person's skin; all I could think was, "All of these people are dead."

Ashley Gilbertson takes photographs of the bedrooms of those killed in action; "bedrooms empty of all but things."  They are all the bedrooms of such young people.

Louie Palu's portraits show soldiers who all look as if they've seen terrible things.  I could only hope that they have received some help to deal with their memories.

Vincent Valdez's show is devoted to a friend who killed himself as a result of PTSD.  It's just so sad.

Tim Hetherington's works are of male soldiers working together; I felt distant from the work, as it is quite deliberately men only.

Verdict: This is an excellent show and should be required viewing for everyone.

Vermeer Without the Crowds

Where: National Gallery of Art, West Building, Main Floor

When: closing January 21, 2018

Several years ago, there was a Vermeer exhibit at the National Gallery that was so popular they had to issue timed-entry tickets.  If you missed that, or you'd like to see Vermeer without thousands of your closest friends, the new show on Dutch genre paintings at the National Gallery is just the thing for you.  Although there is a rope set up quite a distance from the exhibit entrance and extra docents about to hand out brochures, I walked right in with no problem when I went at lunch time week before last.

It's not just Vermeer, but his work in company with other Dutch painters of the same period.  They were clearly copying each other, as the same scenes and characters appear in several different works.  I read a review that said Vermeer's pieces were clearly the best in each room, and that may well be true.  I'll say I saw plenty to like, both by Vermeer and by others.

I started playing a game as I looked at the pieces, which I called "Where's the Dog?"  So many paintings include a four-legged friend that it felt strange to see one without a canine representative.  Most of the dogs were vaguely Spaniel-ish, so I felt right at home.

There's also a map of Delft from the Gallery's Library in a lounge area (I'd not seen a rest stop in a show before - perhaps also due to anticipated crowds?); nice to see something from the Library's collection make it into an actual show.

Verdict: Great way to see Vermeer without growing old in line.

Hooray - the Sackler is Open!

Where: Sackler Gallery

When: closing January 15, 2018

The Sackler has been closed for renovations for several months, and I was very happy to see it reopen.  This was my first visit back to my favorite museum, and I noticed one change in particular.

The show I saw dealt with representations of cats in Egyptian art, and it was a good, fun exhibit.  Great for fans of Egyptian art, cat lovers and art enthusiasts generally, I enjoyed myself there.

Note: contrary to popular belief, Egyptians did not worship cats; rather, they identified certain qualities of cats with specific gods.  They were intrigued by the duality of feline nature: on the one hand, nurturing, on the other hand, aggressive.  Much better to be the beloved kitten than the hunted prey.

I noticed a photograph by Eliot Elisofon at the beginning of the show and remembered the exhibit of his works at African Art.  There was also an actual cat mummy on display - you don't see that every day.

The thing that struck me was the change in the wording of the wall notes.  I feel as if the language was simpler, less scholarly.  Perhaps it's just for this one show, as it might draw more children?  Perhaps it was my imagination?  I'll have to watch closely at future shows...

Verdict: So glad to have the Sackler back, and the montage of modern-day cats was a nice touch at the end.

A Trip to the Renwick

I had some extra time one afternoon a couple of weeks ago and decided to spend it at the Renwick.  The gallery is a bit far for a lunch time visit, and I was able to take my time and see three shows.  I was surprised at how crowded it was - you'd think WONDER was still on.

When: closing January 28, 2018

The only way to describe the number of people at the "Murder is her Hobby" show is as a mob scene.  It was actually difficult to see the dioramas, as there were so many people to contend with.  These are murder scenes, based on actual crimes, created by Frances Glessner Lee, for use in training homicide investigators.

They are an interesting blend of womanly craft and manly crime solving, so quite modern.  A macabre hobby certainly, but also a way for a woman to make a serious contribution to police work, in a time when that was not generally possible.

Apparently, there's a thought that Lee was the basis for Jessica Fletcher, the crime solving inhabitant of Cabot Cove, Maine, played by Angela Lansbury on "Murder, She Wrote."  Not sure if that's true or not, or what Lee would have thought of the show, which I'm guessing was not a realistic depiction of police procedure.

When: closing January 28, 2018

This is an installation that looks like a subway stop, except the train never arrives.  All it needs is a Metro sign, and it could be the Red Line.  I caught myself looking for the third rail, in an effort to avoid it. 

It's intriguing, when you stand by the side of the tracks, you can really imagine yourself waiting for a train, but I think the effect would have been enhanced if you couldn't just turn around and walk down the stairs back into the museum.  If they'd made it more of a tunnel to get to the installation, that would have been better I think.  As it is, it's quite good, so I'm nitpicking.  There's also some "peepholes" on the other side of the installation that make it appear that you're looking at staircases in the station - very clever.

Large drop-off in crowd size from the crime scene dioramas, which rather surprised me.  It's just one item to see, why not stick around and give it a look?  I was happy to have a bit more room on the "platform," so this is not a complaint, just an expression of confusion.

When: closing February 11, 2018

Before the Renwick was renovated, the Grand Salon upstairs was just that: a room where artwork covered the walls.  Now, most of what's happening is on the ceiling.  The Grand Salon is now a place where people lie on the floor.

I wish they had chosen a different room for this activity.  I don't know of another museum space with art displayed salon style here in DC (of course, I don't go to every museum, so perhaps there are many rooms like this, and I just don't know about them), and it would be nice to see a show set up this way.  But, there aren't any other rooms to lie on the floor and look at art on the ceiling either (again, so far as I know), so I'll appreciate the opportunity to do that.

This show is the winner of the 2016 competition "ABOVE the Renwick," and it's interesting enough.  The photograph is typical of what you see - if you move about, you see a slightly different angle and thus, a different work of art.  I liked it fine, but I didn't walk away in awe.

Verdict: All three shows are worth a look; if you can find a time when it's less crowded, that would make the Lee dioramas much easier to examine.

Sometimes You Get What You Expect

Where: National Portrait Gallery, West Building

When: through January 7, 2018

As many exhibits of drawings as I've seen, I just can't warm to them.  I think it's the fact that they're not terribly colorful, and pen and ink just doesn't do it for me.  These are on loan from the Museum Boijmans Van Beuningen in Rotterdam, and are from artists working in what is now Belgium and the Netherlands.

The earliest works, in the first room of the show, are from the 1400s.  They are quite rare, only about 700 of them exist, so to see several examples is quite something.  Although I can't say these are antiquities, they are really old - the discovery of North America by Europeans was decades in the future.

Farther on, there are two rooms with Mannerist works, which is great if you like Mannerism, which I can take or leave.  I did like the Bruegel landscapes, so it's not as if there was nothing to catch my eye.

Verdict: Sometimes, I'm surprised at what I see at a show, but not in this case.  If you like drawing, check this out.  Otherwise, you can give it a quick skim, or pass it by entirely.

A Tribute to Dizzy Gillespie

Where: National Portrait Gallery

When: through November 26, 2017

I figured something would pop up soon with a closing date before the end of the year, and sure enough, here's a portrait of Dizzy Gillespie to celebrate the centennial of his birth.

It's in the "Celebrate" space, which you will doubtless recall is also the "In Memoriam" space.  I make it a point to see these offerings as quickly as possible, as you never know when a famous person will die and you'll be out of luck.

The thing I like most about the piece is that Gillespie is pictured at an angle.  It's an innovative way to show an innovative musician, and it's large enough that you feel as if you're in the smoky jazz club with him.

Verdict: Good portrait of an important American.

The Art of Light

Where: Smithsonian American Art Museum

When: through January 7, 2018

There's a wild show up at SAAM, and each time you go, it will be different.  It's a display of light art by Thomas Wilfred, basically colors and shapes in motion.  Although you could watch some of the pieces from beginning to end, others take literally years to complete a loop, so no matter how often you visit or how long you stay, you'll never see the whole thing.

Wilfred started creating these pieces (for lack of a better word) in 1919, and people went to theaters to view them.  I could not help but wonder, "Is this because they are mesmerizing works of art or because this was a new technology and they would watch anything, just to use it?"  This is how I view most of 1950s television; people would watch plate-spinning because it was on TV, not because it was such gripping entertainment.

I'll say this, it's very conducive to meditation; you just watch the colors swirling, and pretty soon you feel calmer.  I can see it working very well in office building lobbies. Note that, ironically, the space where the show is located is quite dark, so you might want to wait for your eyes to adjust before plunging in.

Verdict: It's intriguing in its own way; even if you're in the museum to see something else, it's worth walking through.

Making Sense of the Fantastic

Where: National Gallery of Art, West Building

When: through December 3, 2017

Jean Honore Fragonard was a well-known French painter of the 1700s, and his "fantasy figures" have been long admired.  Full of color and exuberantly painted, they're fun art - when the world is getting you down, these portraits will let you forget your cares for a while.  And anything that can lighten the mood in 2017 is worth seeing.

Uncertainty surrounded these paintings for many years until a sketch of 18 portraits turned up for auction in 2012.  Identified with names (presumably of the sitters or the commissioners of the work), the sketch answered the question, "Are these real people, or pure imagination?"

In addition, a painting of a young woman reading a book (my favorite of the group) has been scanned as part of a two-year investigation.  It turns out, the original work had the woman's face turned towards the viewer; the final painting shows her in profile.  Why the change?  It's possible the sitter didn't care for the work, and Fragonard had to re-purpose it.  Whatever the reason, I like it as it is.  We, the viewers, observe the woman reading, but we do not disturb her concentration.

Verdict: A fun escape into colorful costuming; a one-room show easily managed in a lunch hour.

Worshipping Color

Munch self-portrait

Where: National Gallery of Art, West Building, Ground Floor

When: through January 28 2018

If you're like me, you know that Edvard Munch was a Norwegian artist who painted "The Scream."   Turns out, he was much more than that.  He was also someone who believed that colors had certain powers and could see auras around people.  Oh my.

This small show (two rooms, about 20 works) shows several familiar Munch works, with discussion of the meaning of the colors he used.  The one pictured, which I remembered from another Munch show I'd seen some time ago, is a self-portrait, most noticeable for a lack of color.  That, and the skeleton arm at the bottom, that's pretty noticeable as well.

Interesting that at the same time that science was making advances, spiritualism should also enjoy a vogue.  Truly, the 19th century was one of contradictions.

I find Munch's work a bit hard to relate to, our shared Norwegian background notwithstanding.  The fact that he seems to have been a bit of a nut doesn't make it any easier.

Where: National Gallery of Art, West Building, Concourse Gallery

When: through December 13, 2017

On the same day that I saw the Munch display, I also saw an installation of works by Matthias Mansen called "Configurations."  It's tucked away in that small room by one of the elevators, just as you leave the West Building and enter the concourse to go to the East Building.  They do nothing to direct your attention to the space; if you didn't know you needed to look in here, you'd figure it was just a small elevator lobby.  They need to put up a sign directing people to look in here.

I couldn't really relate to this show either.  It's large scale woodcuts, so it dovetails nicely with the Library display I blogged about last week.  I'm just not sure what it is, or what it's supposed to represent.  I think the set of nine similar pieces are meant to be self-portraits, but I'm not sure.  I have not even a guess about the others.

Verdict: If you're a fan of Munch, the show of his works is worth seeing.  Otherwise, you can skip it; many of the pieces have been exhibited before. As for the Mansen, if you like woodcuts, you should check this out on your way to see the Library display.

Woodcut Illustrations

Where: National Gallery of Art Library, East Building

When: through January 5, 2018

The Library at the NGA has another small display in the glass cases in the library reading room.  So lovely to escape the crowds and look at some of their holdings.  The current offerings are examples of woodcuts, including one of Durer's (hooray).  These are pieces from the apogee of woodcuts as an art form, and if you are a fan of woodcuts, or a student of art history, this is worth seeing.

Verdict: Probably for the hardcore art historian, but also a way to become acquainted with the medium.

Best Thing I've Seen Ever at the Postal Museum

Where: National Postal Museum

When: through January 1, 2018

Okay, first of all, how is it that I'm already seeing things closing in 2018!?!?  I'm sure both the National Gallery and the Smithsonian will add in more shows that will close in November and December, but at the moment, there are none.  There are exhibits closing in October, and then it's on to January.  Crazy.

I confess, I'd considered eliminating the Postal Museum from my rounds not too long ago.  It's inconvenient to get there for a lunch hour visit, and the shows are usually, well, kind of dull.  The sort of thing I would probably review more kindly if it didn't take me so long to get there and get back.

But, wow.  This show, called "Post Secret: The Power of a Postcard," is amazing.  Truly amazing.  The Post Office has a program, whereby anyone can send an anonymous postcard to Frank Warren, the found of the program.  On the postcard, the sender writes a secret that is both absolutely true and has never been shared before.  The project started in 2004, when Warren handed out postcards to strangers within a mile of the museum (by which time, I had changed jobs and moved across town, hence I knew nothing about this).  He's written books full of the cards he's received and he posts new ones at this blog: https://postsecret.com/.  If you can't get to the show, check this out.

The photo above is of one of the object people send in, in addition to postcards.  I love everything about it, except obviously, that this person has a Mom with a boyfriend he/she hates.  But, it really grabbed me - the colors and the whimsy of the plate, juxtaposed with the pain of the message.  Fantastic.

Verdict: You've got plenty of time to see this show, and if you won't be in DC before January, check out the blog.

Cats Were a Thing Even Before They Owned the Internet

Where: Archives of American Art

When: through October 29, 2017

The Archives of American Art is riding on the capacious coattails of Internet cats, in the interest of showing their collection of cat depictions.  Turns out artists own cats, like cats, take cats as subjects of their art and draw inspiration from cats.

So we who live in the age of the information superhighway didn't discover the many wonderful qualities of the cat, we have merely put them online and shared them with a wider audience.

Verdict: A fun small show that would pair admirably with the "Recent Acquisitions" exhibit for a lunch hour trip.

Party Time at the Hirshhorn

Where: Hirshhorn Museum

When: through October 1, 2017

Today's the last day for this show I really liked (imagine!) at the Hirshhorn.  It wraps around the 3rd floor inner circle of the concrete donut (which I found out today has an official nickname of the Brutalist Donut).

I love the vibrant colors and depictions of nature at the beginning and end of the day.  I walked around to look at the whole thing and was surprised how quickly I made the trip - sort of the opposite of one of their Bataan Death March exhibits.

Obama's remark after the 2016 election, that no matter what happened, the sun would rise in the morning was the inspiration for the work, which was created specifically for this space.

Verdict: Worth a look, if you're on the Mall today.

A Look Back at the Future of America

Where: Smithsonian American Art Museum

When: through September 17, 2017

As I believe I mentioned when I blogged about the Kennedy photos at American History, it's hard for those of us who see the 1960s, particular the early 1960s, as history to realize how much it was the future to those living it.  The world was changing; a young new leader was taking over, and everyone was anticipating a new chapter in the American story.

Kennedy was the most photographed president ever, and for good reason.  He was photogenic, as was his wife and their two small children.  My favorite shot in the exhibit is one of JFK and Caroline.  Both in this show and in the photos at American History, the ones with her seem less staged, more real.  Her love for her father comes through, and I don't think a child that small can fake emotions.

The other aspect of the show that I loved was the emphasis on the arts.  JFK believed that the arts were a crucial part of American life, and Jackie was instrumental in both bringing the Mona Lisa to the National Gallery of Art for three weeks (I had no idea!) and in saving the Renwick - which I did know.

Verdict: A fine exhibit that gives the visitor a real look at a vibrant time. 

Clang, Clang, Clang Goes the Trolley

Where: National Postal Museum

When: through September 10, 2017

This display was under the escalator on the lower level of the museum, what they call the "Franklin Foyer," as there's a statue of Benjamin Franklin close by.

Beginning in St. Louis in the 1890s, the Post Office used trolleys to deliver mail in cities, with workers sorting the mail on board.  The practice spread to other cities, and even during the trolley strikes at the turn of the century, post office trolleys were generally allowed to proceed on their way.  Eventually, the trolleys were replaced by trucks that could handle packages; the last service was in Baltimore in 1929.

Verdict: A glance into the past courtesy of the Postal Museum, interesting, but not what you'd call a blockbuster show.

Every Year: Nature's Best

Where: Natural History Museum

When: through September 15, 2017

First, my apologies for the long silence.  Between the National Book Festival and my class, I've had no Saturdays free for blogging since August.  But, I'm back now, so on with the show...

Every year, the Natural History Museum displays the winners of the Nature's Best Photography Competition, and every year I recommend you go and see this show.  Every photograph is stunning; I walk out each time feeling a sense of wonder, both at the beauty of our planet and at the talents of all those responsible for these pictures.

Verdict: This year's display has finished, but whenever they put up next year's winners, go to see them.

Yet Another Trip to the Hirshhorn

Where: Hirshhorn Museum & Sculpture Garden

When: closing dates throughout September 2017

There are times throughout the year when there seem to be so many exhibits closing so soon that I can hardly make time to see them all.  Right now is one of those times.  I usually set aside two days per week to visit museums, but lately, I've had to increase my attendance at the Smithsonian and National Gallery.  My yoga practice has suffered, I'm sorry to say, and I'll be glad when things settle down a bit.  Of course, this is a great (First World) problem to have.

One of the museums that's got lots of shows closing in September is the concrete donut.  In addition to the Yoko One pieces, there's also a "Masterworks" show and an exhibit of Markus Lupertz works.

I went over to the museum I love to hate on Tuesday and saw a Yoko One item I hadn't seen with my niece when we visited last week.  It was called Sky TV, and that's exactly what this is.  It's a TV set showing the sky.  The wall notes tell me Ono got the idea for this when she lived in a windowless apartment in New York City and longed to see the sky.  It occurs to me that, if you're seeing this in a museum, you've been outside and been able to see the sky "live," so perhaps this isn't the best way to show it.  Maybe it should be something you could see on your own TV, like the fireplace log burning that they show on TV on Christmas Day?  Or something you could stream on your computer?

I also saw the "Masterworks" show, which I think I've seen before.  "Big Man" was out front, with his baleful stare.  Hard to say he's welcoming you, but when you see him, you know you're at the entrance.  "The Weight of History" is also here, where the artist depicts the writings of history's monsters as blocks of toner - the longer the tracts, the bigger the block.  Hitler is the biggest, for what it's worth.  "Venus of the Rags" is here too, which makes me smile.  I thought their Yinka Shonibare piece was included (as it should be), but I didn't see it.  Perhaps it's on loan?

Finally, I went to the Lower Level and saw the Markus Lupertz exhibit.  This is a survey of his works from the 1960s and 1970s.  They weren't really to my taste, to be blunt.  He's a Neo-Expressionist, which seems to be similar to being an Abstract Expressionist, as nothing's terribly attractive.  I do appreciate his works condemning war and militarism, particularly German militarism, responsible for so much of the 20th century's loss of life.  Still, a little of this goes a long way.

Verdict: It's the Hirshhorn; expect little, and the few things worth seeing will be that much more worthwhile.

The Artfulness of the Everyday

Where: National Gallery of Art, East Building

When: through September 4, 2017

This photo shows my view as I walked up to the Tower (now called Tower 3) to see the Theaster Gates exhibit.  "What on earth is this?" was my reaction.  As I approached, I saw it was a gigantic bookshelf, really a book-box, as it had four sides and a space in the middle.  All of the books are bound volumes of Ebony magazine.  I'm not entirely certain what this means, but it was intriguing.

There are several other pieces in this room, with a map on the wall to tell you what each piece is.  It's a bit confusing to figure out, so I just stood back and took it all in.  There are more pieces in the room with the elevator just off this room, and they were a bit tricky to decipher as well.

One of the wall notes read that the artist "...stakes a claim for the artfulness of the everyday."  I don't really have anything to add to that, other than to say the pieces are well-executed and hold your attention.

Verdict: If you don't mind the time it takes to get to Tower 3, I'd recommend looking at this small show. 

A Day with my Niece

I spent Friday with my niece, and we went to the Botanic Garden and to the Hirshhorn.

I chose the Botanic Garden because they have three corpse flowers that are ready to bloom.  See the picture in the bottom left for a look at the most advanced of the specimens.  It hadn't actually started blooming when we went to see it, and I'm not sure if I'm glad or disappointed.  It was pretty impressive, even with no odor, but I feel as if we didn't really get the "full Monty."  Of course, we also didn't have to experience the stench, and on a hot day like Friday, that was probably a good thing.  And we didn't have to wait in line for hours to get in either, so all in all, I'm think I'm going to go with glad.

We walked around the whole garden, at least the inside part, and I realized I hadn't visited since 2010.  They've made some improvements since the last time I was there, and I was reminded of what a lovely venue it is.  One of those places that lowers my blood pressure as soon as I walk in the door. Although I love my office location, as it allows me to walk to the Mall on my lunch hour, I do wish the Botanic Garden were closer.

After lunch, we went to the Hirshhorn.  "That's an odd choice," those of you who read the blog regularly might be thinking, since I usually miss no opportunity to bash the concrete donut.  In this instance, we went to see the Ai Weiwei show, which I recommend.  He's created portraits of dissidents from around the world, done in Legos.  What I didn't realize until we went, was that this is the same show he put on in Alcatraz.  I was sorry to miss that, so very glad to see it here.  I think I would have gotten more out of it, if I had known more of the people portrayed (I knew Nelson Mandela and Martin Luther King), but that's my fault, not Ai's.

We also saw the Yoko Ono pieces about mothers (in the main lobby) - people put up comments about their mothers on a big wall, and her Wish Tree in the sculpture garden.  We put up our own wishes (mine was for civility in political discourse - good luck to me with that), which was fun.

All in all, a great day, despite the heat.  

Tiny Garden Models

Where: Ripley Center

When: no closing date

I went over to see this small display in the Concourse last week, as the original closing date was early September (and I'm now on to September closings - where does the time go?!?!).  Now, however, they've decided to keep it up longer and the closing date has been changed to TBD.  So no need to rush out and see this.

It's a display of several models of gardens, done in miniature.  You also get a photograph of the real garden (from the Smithsonian Archives of American Gardens - who knew?), so it's not just a little toy.  It's an actual small replica, designed to spur you on to great feats of garden design.  Or at least, give you some ideas of what to do in your back yard.

My only problem with this is that the notes are printed in small type and set mostly in the center of the display.  And since the models are set in the middle of large brick pedestals, the middle is rather far from where the viewer is standing.  Very hard to see, if one doesn't have eagle eyes.

Verdict: Worth a look, if you're on your way to something else.  Basically, just a nice way to decorate the Concourse.

The Glory that was Camelot

Where: American History Museum

When: through August 27, 2017

If you'd like a glimpse of what America was like before "the 60s" or if you're a fan of the Kennedys, head over to the American History Museum to see the Richard Avedon photographs of JFK and family.  They were taken just before he was inaugurated, and it's like looking into a time capsule.

The museum is celebrating the 100th anniversary of Kennedy's birth (so is American Art, just by the way - I'll have a review of that show once I've seen it), and it's interesting that they would choose this collection of photographs, over something to do with his Presidency or WWII service.

They were taken just as America was about to step into a new phase; Kennedy was the first of the "Greatest Generation" Presidents, who occupied the White House until Bill Clinton's inauguration in 1992.  So they represent both a look forward for those who saw them in 1961 - looking towards a new generation of leadership, and a look back for us in 2017, who see a time before so many cultural upheavals.

The family is depicted against a plain white background, and one can't help but feel that they were carefully posed.  Both JFK and Jackie Kennedy are carefully looking into the camera, projecting a certain youthful seriousness, as if to say, "Yes, we are very young and glamorous, but we're ready to take on our new responsibilities."

The exception to all this message sending are the photos with Caroline.  She's quite young, and clearly very happy to be with her father.  She looks completely authentic, the way kids do before they learn they have to "smile for the camera."

Verdict: There are only a few photographs, so this won't take very long.  They're in the Presidents exhibit, and you can have a look at Warren Harding's flamboyant pajamas on your way to see them.

Beauty and the Beast at the Renwick

Where: Renwick Gallery

When: through August 20, 2017

I went over to the Renwick yesterday, and because it's a bit of a hike for me, I saw two shows in one trip.  The first was an exhibit of gorgeous enamels by June Schwarcz; I liked them so much I took two photographs to share on the blog.

This is one of her earlier works, called "Nut Bowl."  I'm not sure if this comes out in the photo, but the inside looks like a nut.  It is both beautiful and a pun, which is an uncommon mixture.  The colors of her works are stunning; I felt as if I could take them home and live happily ever after with them.

Although this piece could certainly hold nuts, some of her work is non-functional, or as she herself put it, "They just don't hold water."  One gets the sense that she didn't take herself too seriously, which is another reason I like her art.

She took inspiration from nature, fashion and the work of other artists.  Only last week, I'd been craving some Durer in that show on French art, well, see the piece below which was inspired by him.

It's an abstract, where Durer was a realist, but the precision is there.  So, I'm now a June Schwarcz fan - any friend of Durer's is a friend of mine.

Then I moved on to the Peter Voulkos show, which is in the rooms just behind Schwarcz.  What a change, and not for the better.  Big clunky, ugly pieces, all sharp edges and looking like failed experiments.  The items pictured below are the least awful.

The rest of the show is all mangled clay; all I could think was, "This is so un-beautiful."  The wall notes provided my a-ha moment.  Turns out he was inspired by Abstract Expressionism, so no wonder it's so beastly.

The final room of the show features some of his "blackware."  One of his friends said of it, "It wouldn't surprise me if the pots had been made in the dark."  It wouldn't surprise me either!

Verdict: The Schwarcz show is wonderful; Voulkos you can skip.

A Trip to Rococo France

Where: National Gallery of Art, West Building

When: through August 20, 2017

The National Gallery's show, "America Collects," on now through August 20th, is a trip to France before the Revolution.  The title of the show refers to the fact that all of the pieces on display are from collections in the United States, as Americans love French art.

It all started with the arrival in 1815 of Joseph Bonaparte (brother of Napoleon) with a large number of paintings, presumably to console him while in exile in the U.S.   This excited an interest that was taken up years later by Gilded Age tycoons, who collected these pieces to decorate their grand homes and then donated them to public institutions, where they continue to reside and attract visitors.

I confess, Rococo art is not to my taste - all the frippery and finery and exuberance makes me long for the precision of a Durer, but when one goes to an exhibit of 18th century French art, one must be prepared for some gaudy frills.

I was interested to see "The Bath of Venus" and "The Toilette of Venus," now displayed together for the first time since the 1700s.  Long-time readers know that I'm always eager to see works that rarely travel or that haven't been exhibited in ages or that are reunited after many years apart.  Right up my street.

Much to my delight, I saw a piece with a dog that looked very like my own four-legged friend.  A black and tan Spaniel-esque canine, the one in the painting had a bit more black in his coat and a smaller snout than my Sherlock, but they could easily have been siblings.

I thought as I made my way through room after room of Gallic excess, "But we all know what happens to these people in 1789..."  And of course, art changed quite a bit after the Reign of Terror.  Gone were the bright colors and opulent settings; a gritty realism took over.  The work that stuck with me most strongly was a piece entitled "The Drunken Cobbler."  It depicted a derelict man, besieged by his wife and her barefoot children.  I use the old saw "the cobbler's children have no shoes" on a regular basis - here it was in front of me!

Verdict: I liked this show more than I thought I would.  Even if much of the style is not my favorite, it was well presented, and the wall notes were quite interesting.

Thinking of my Brother

Where: Natural History Museum

When: through August 14, 2017

There's a fine exhibit on the National Park Service, complete with gorgeous photos, on now at Natural History.  Last August marked the 100th birthday of the NPS, and the museum is doing its part to honor one of the things that makes America great.

My use of the national parks consists of the National Mall and Wolf Trap (the only national park for the performing arts!), but I am a supporter of the National Park Service Foundation and hope that someday, I'll be able to see the great parks out west.  Plus, my brother works for the NPS (in fact, he is somewhere in the photo above), so I have plenty of reasons to support them and the great work they do.

"There is nothing so American as our national parks."  - FDR, 1934

This quote is printed at the beginning of the exhibit, a fitting way to start.  No matter how bad things may be in the economy (keep in mind, Roosevelt said this in the midst of a depression) or in the world at large (you'll recall, things weren't looking good overseas either), our national parks are always a worthwhile investment of the nation's time and money.   This show gives you a feel for the variety of parks throughout the country.  Photos of Peacefield (John and Abigail Adams' home) and Mount Vernon reminded me of trips I've taken; Yosemite and Yellowstone and the Grand Canyon are trips I'd like to take in future.

In other news, the Korea Gallery has closed, and a "Garden Lounge" is under construction.  I'm not sure exactly what this will be, but I'm guessing some sort of eatery?  When it opens in November, I'll be sure to check it out.

Verdict: If you are a lover of nature photography, don't miss this show.

Two Small Shows at the National Gallery

Where: National Gallery of Art, West Building

When: through August 6, 2017

It hadn't occurred to me until just now that I saw two shows on urban landscapes this week.  Perhaps because they're so different, both in style and content?

This one is a very small (two little rooms, across the hall from the large exhibit spaces on the Ground Floor of the West Building) display of works spanning the 20th century.  They are part of the NGA's print collection, which is quite large, especially with the addition of the Corcoran pieces.

The piece I photographed for the post is by Louis Lozowick (whose work I feel certain I've seen before - the name is familiar) called "Allen Street."  The sun coming through the elevated tracks to make geometric shapes on the street below really caught my eye.

Verdict: Nice small show, worth a look if you're there for one of the larger shows.

The other display I saw was in the library, in the East Building and it runs through August 25.  It's called Companion Pieces and it's a collection of items that accompanied avant garde art shows.  If you're interested in the history of modern art, it might be worth a look, but otherwise you can skip it.

More Latino Art

Where: Smithsonian American Art Museum

When: through August 6, 2017

I don't know how it happened, but 2017 has rushed by in a blur.  It doesn't seem possible that it's more than halfway over, but since I've started seeing shows that close in August, I have no choice but to believe it's so.

I saw several things this week, the largest of which is this show of photographs by Latino photographers, depicting life in urban neighborhoods.  The time frame is early 1960's through the 1980's.  The series I chose for the blog photo is by Camilo Jose Vergara, and it's called "65 East 125th Street, Harlem."  It's the same storefront as it changes over the years.  It starts out as a lounge, with a rather "dive bar" look to it and winds up as a church.   I don't know if this is due to changes in the surrounding neighborhood, or just the vicissitudes of business, but it makes you think about the passing of time, which, I guess, brings us back to the whole "I can't believe it's already July" idea.

I found myself remembering the photography show I saw at American Indian recently; it's really a similar idea - documenting the people of an area that is often overlooked by mainstream society.  The portraits of children especially made me think of that other show.

I also liked the "Long Beach Documentary Survey Project, 1980" by Anthony Hernandez, which is bus stops and people waiting for buses to arrive.  Been there (well, not exactly there, but in that same situation); done that.  I can remember, as a graduate student with no car, wishing I lived at "Not in Service" since that was where all the buses seemed to be going.

Perhaps the most interesting piece was Ruben Ochoa's "What if Walls Created Spaces?" which is a lenticular print mounted on aluminum composite.  As you walk past, the highway wall pictured opens up and green space is revealed.

Verdict: Nicely laid out show; interesting photographs made by a group (Latinos) that I don't see enough of in my lunchtime travels.  I'm hoping more Latino art will go on display in future. 

The American Landscape Isn't All Out West

Where: National Gallery of Art, West Building

When: through July 16, 2017

When I think of great American landscapes, my mind inevitably turns to the West: Monument Valley, the Grand Canyon, the Rocky Mountains.  What I forget is that the Eastern part of the U.S. has great landscapes too.  Having spent a lifetime in the Mid-Atlantic, there's no excuse for my overlooking the natural beauty so near by!  Happily, this show has opened my eyes, and I hope will open those of others before it closes in another week.

This collection of 19th century photographs starts with early daguerreotypes, some of which are so sensitive to light that they are covered with little curtains.  I found it hard to see the images but didn't want to stare too long for fear of making matters worse, so gave these only a quick glance.

The next room featured stereographs - which reminded me strongly of my old "Viewmaster Viewer."  Two identical images set side-by-side create a 3-D image, if you look at them with a special viewer.  Great fun, largely due to the trip down memory lane.

There were also several examples of photographs and paintings of the same view, exhibited together - a great idea I thought, showing how artists in different media see the same thing.

The Civil War got a bit of space as well, not surprising, since it was the first war to be photographed.  Just as Vietnam brought the war to America's living rooms by way of television, people were far more aware of what was happening in this conflict due to photography.

I noticed among the offerings, several from the Smithsonian American Art Museum.  It made my wonder how often the two institutions share things for special exhibits - are they more colleagues than competitors?

Verdict: A fine show, one worth seeing.

Like Father, Like Daughters

Where: National Gallery of Art, West Building, Ground Floor

When: through July 16, 2017

Ian Woodner was an art collector, especially fond of drawings.  He began collecting in the 1940s, and did not limit himself to any particular historical period.  His daughters, Dian and Andrea, joined in his passion, and gave a substantial portion of his collection to the National Gallery in 1990, after Ian's death.  In addition, they have promised more pieces to the NGA, some of which are on display in this show.

It covers a wide span of time, from the 1300s through to the present.  I was very happy to see some Durers among the offerings; I love the precision of his works.  A piece entitled "Initial Q with a Procession of Children" by Zanobi Strossi caught my eye - painted in 1430, but vividly colorful.

Leonardo da Vinci was among those present, with "Grotesque Head of an Old Woman," pretty far away from the Mona Lisa - more like something out of Dr. Seuss. Hendrick Avercamp's "Winter Games on the Frozen River Ijsse" I saw in the small exhibit of art from the "little ice age" period.  I very much like seeing things again - makes me feel full of artistic knowledge to recognize something.

Louis-Leopold Boilly's "The Public in the Salon of the Louvre, Viewing the Painting of the 'Sacre'" was a piece I liked, as it depicts people in a museum, a subject of which I never tire.  In the final room, we had modern pieces, including two I recognized by Louise Bourgeois.

Verdict: Although I'm not a big fan of drawings as an art form, I do recommend this show.  Nicely arranged (chronological order - my favorite kind) and a fine tribute to one family's generosity.

Saying Good-bye to the Sackler

Where: Sackler Gallery

When: through July 9, 2017

As many readers may know, the Sackler Gallery is my favorite Smithsonian museum.  I've loved it for years, full of beautiful Asian art, both in its permanent collection and in the special exhibits it hosts.  I'm always excited when I see a new show is coming, as it gives me an excuse to visit once again.

My visit yesterday was a melancholy one; the museum is closing on July 10 for three months.  So no Sackler to welcome me into its cool interior through the heat of the DC summer!  You will doubtless recall that the Freer has been closed for quite a while now (I think about 15 months, although it seems much longer...).  Now that the big renovations are done there, both spaces will be closed for a time in order to reorganize and reinstall the entire collection.

It's hard to view this closure as a good thing, but as much as I will miss it in the short run, in the long run this is the right thing to do.

I saw many things while on this visit, including the exhibit of three immense paintings by Utamaro: Snow at Fukagawa (missing for nearly 70 years before turning up in Japan recently),  Moon at Shinagawa (purchased by Charles Lang Freer and now in the Freer's collection) and Cherry Blossoms at Yoshiwara (owned by the Wadsworth Atheneum Museum of Art in Hartford, Connecticut).  Reunited after 140 years apart, these three paintings would be wonderful separately, but are astounding together.  Each piece bears close examination; if you saw them every day, you would find new elements with every look.  The entrance to the display is marvelous - big banners with examples of both Western and Asian art, all of tall, beautiful women.

I thought it a nice touch that, at the end of a show glamorizing the "pleasure quarters" of Edo, the Sackler included some information on the reality of these women's lives.  Needless to say, the truth is rather less pretty.

This is the Cosmic Buddha, a Chinese work from about 575.  I love antiquities and the connection they provide to people living so long ago, in circumstances so different than our own.  One thing we have in common is art, and this is a lovely example.  Although the sculpture is old, the technology now being used to study it is new - 3D printing is allowing scholars to examine this piece in great detail.  There's a bit you can actually touch (and you know how much I love tactile exhibits) that's been printed with a 3D printer, and you can even order your own Cosmic Buddha online!

This is Ganesha, one of the most popular Hindu gods; his elephant head makes him easily identifiable.  He is revered as the remover of obstacles, which is probably another reason for his popularity - who doesn't need some help removing obstacles in life?  He and this Buddha below (I really like his blue hair) are part of the permanent collection.  I hope they'll be back on display in October.

The last piece I saw on my visit was this one (see below) from Michael Joo.  It's in the entryway, so you can't miss it.  I took the time to read the wall notes, and it's a representation of cranes that winter in the DMZ between North and South Korea.

Verdict: Visit the Sackler before it closes for renovations.  And be sure to visit again in October when it re-opens!

The Unanswered Question of Frederic Bazille

Where: National Gallery of Art, East Building

When: through July 9, 2017

I had heard of Bazille before I went to see this show, and I'm pretty sure I'd seen at least one of his works at the National Gallery, but I wasn't really familiar with his work, in the way that I am with the bigger names of Impressionism.

I suspect that's true of many people as regards Bazille: vague sense, but no real knowledge.  This show should change that, and that's a worthy goal.  The one thing the show doesn't do, and perhaps it really can't do it, is answer the great question of Bazille's life: why did he give up a promising artistic career, leave his friends behind and join the army to fight in the Franco-Prussian War?  It was a decision with tragic consequences, as he was killed in his first battle.

Bazille had a comfortable upper-middle class upbringing.  His parents wanted him to be a doctor, and he studied medicine for several years before giving it up to become an artist.  He became friends with a who's who of Impressionist luminaries: Monet, Renoir, etc.; he lived, worked and exhibited with them throughout his very brief career.

The show begins with several portraits, then moves on to still lifes, including one called "The Dog Rita, Asleep" which caught my eye, as Rita looks very much like my own dog, Sherlock.  I would have taken a picture, but it was labeled as "no photography,"  so I was out of luck.

His largest, and in my opinion, best work comes towards the end.  The Family Gathering is considered his masterpiece, and it is wonderful.  It's the sort of painting that makes me imagine a backstory for those pictured; I think there's more going on than just a family enjoying the sun on a summer afternoon. Summer Scene and another piece of a fisherman (I've forgotten the name now) are also marvelous.

The show ends with a room of floral paintings, which seems sort of tacked-on, as if there wasn't any other space for these, so they were put in where they fit.  I think it would have been better to end with the large works, but I understand that sometimes, the physical space has other demands.

Verdict: I highly recommend this show; a welcome exploration of an overlooked artist.

JFK and the Greek Slave

Where: National Portrait Gallery and the American Art Museum

When: through July 9, 2017

 I saw two exhibits in one trip this week.  They were small and in the same building, which helps.

The first was Hiram Powers' The Greek Slave.  This was the most famous sculpture of the 19th century, and its full nudity meant that, in some venues where it was shown, men and women had to view it separately.  Some claimed that the statue was not indecent, as it was "clothed all over with sentiment."  Yeesh.  SAAM allows everyone in at the same time, and it doesn't seem to be a problem.

There was an X-ray of the statue on view, which I always find interesting - what's going on beneath the surface?  Not as surprising as the Rodin dancer X-ray I saw at the National Gallery a while back, but still a treat to see.

Powers received several patents for the tools he used in his artistic work, so that tied in neatly with the building's past identity as the home of the Patent and Trademark Office.

On display was the plaster model of the statue; there were several marble replicas made for private patrons - wonder where those are now? Minton & Company made small porcelain replicas that were sold as souvenirs and are now collected in their own right.  There is a human desire to own great art, even if it's just a little copy.

On my way out, I stopped by the "Celebrate" wall, where a portrait of John F. Kennedy is on display.  It's the centenary of his birth, and there are any number of Kennedy-themed shows up, so watch this space for further reports.  This is a pastel on paper by Shirley Seltzer Cooper from 1961; he looks both young and serious.

Verdict: Both of these are worth seeing; don't leave the JFK portrait too long, you know how those "Celebrate" works will go down in a moment if that space needs to become the "In Memoriam" wall.

A Trip to Korea

Where: Natural History Museum

When: through July 5, 2017

The Korea Gallery is located at the back of the 2nd floor of Natural History, and amidst all the hubbub surrounding the Hope Diamond and the gem collection, it's easy to overlook.  The easiest way to get there is to take the stairs by the Constitution Avenue entrance, the ones surrounding the totem poles.

This one room show highlights various aspects of Korean culture; there's some history, some art, some ceramics and some discussion of societal norms.  I learned that Korea (both North and South put together) is the size of Minnesota, a state I've visited several times.  So it's pretty decent size, but small in comparison to the entire United States.

Did you know that Koreans had moveable type almost 200 years before Gutenberg and his Bible?  I didn't, but I do now.  It's a bit embarrassing to have been educated in such a Euro-centric way, but all I can do is try to fill in the gaps now.

The picture above is of two bowls.  The one on the left is from the 12th century, and the one on the right is from the 20th century.  Both of them feature a celadon glaze, for which Korea is famous.  Pieces of ceramic that the visitor could actually touch were just next to these - I love a tactile exhibit, and one sees them so seldom.  Good job for including this, Natural History!

Verdict: Informative displays in a small space - the out of the way location is my only criticism.

Chinamania

Where: Sackler Gallery

When: through June 4, 2017

I left this visit very late in the show's run, so you need to go see this today or tomorrow.

Walter McConnell is the artist and he's created two big piles of porcelain.  The one pictured here is the "White Stupa"; the other is called "Dark Stupa."  There are meant to be a riff/satire/homage on the Victorian craze for Chinese blue and white porcelain and on our modern day craze for acquisition.

You can walk around these creations for quite a while, picking out pop culture representations - Disney characters, religious icons, even E.T. makes an appearance.

The larger question, of course, is left unanswered.  Why do we want so much stuff?  How much happiness does it truly bring us?

This is in the same area as the "Peacock Room/REMIX" installation - another reflection on acquisition.  I'd seen that before, but took the opportunity to enter the space again.  A really wonderful take on Whistler's masterpiece.

Verdict: Well worth seeing.  Both fun and thought-provoking.

A Window on an "Invisible" World

Where: National Museum of the American Indian

When: through June 4, 2017

This is one of those exhibits that was different than I thought it would be.  I knew it would be photographs, but I wasn't expecting the type of pictures on display or the intriguing nature of the photographer.  Just goes to show, you need to go to the show.

Horace Poolaw was a Native American living in Oklahoma, at a confluence of tribes, all pushed together by the federal government, who wanted them to give up their traditions and culture and acclimate into white America. He photographed his people as they truly were, keeping their culture alive while adopting some of white culture.  While outsiders came to see "authentic Indians," Poolaw recorded the lives of real native people.

Poolaw was not a professional photographer, in that he never made a living by his work, but he was trained by professionals and judged his own output against what he saw in Life magazine.  At the time of his death, he had not labeled most of his negatives, and he never had the money to print them.

Happily, the Horace Poolaw Photography Project at the University of Science and Arts of Oklahoma is seeking to remedy that situation.  The current display is the fruit of their labors, scanning the negatives and researching the people in the pictures.

This is in the large special exhibit space on the 3rd floor, and the set-up is really good.  Each photo has a lot of wall space, so you can focus on each image without other shots competing for your attention.  There are also cut outs in the dividers (see my photo above) that gave me the idea for the "window" description.

Poolaw's daughter, Linda Poolaw, said that her father never took these photographs in order to be remembered, but so that people would remember themselves.  I hope that both the people and their photographer can be remembered by those that see this exhibit.

Verdict: Fine show: both the artist and his subjects are engaging, and the design of the exhibit space supports the work.

In Living Color

Where: National Gallery of Art, West Building

When: through June 4, 2017

Usually, when you look at sculpture, it's white.  Think of Winged Victory or the Venus de Milo or Michelangelo's David - all white.  The Della Robia family, had other ideas, more colorful ones.  Their sculpture is in blue, and green, and yellow and purple.  They developed a glazing technique that allowed them to create art that was beautiful then and is just as beautiful now.

How often have you looked at a painting and been told, "It would have been much more vibrant when it was painted."  I always feel frustrated when I hear this; I can appreciate the technique or the subject matter, but I'm not having the full experience.  With the Della Robias, you get it all.

Ironically, the great masterpiece on display is in white - Elizabeth and Mary greeting one another.  It really is a great work, worth a visit all on its own.  It was what I saw first, as I entered in the middle of the show.  This is my only complaint; the set-up is weird.  The beginning of the show is outside the garden court, in the hallway, and the rest of the show is off the main court in a series of rooms.  It makes for a disjointed presentation, and if you come up from the 7th street entrance, as I did, you start in the middle.

Another display I really liked was two versions of the same piece.  One Madonna and Child is owned by the National Gallery and the other is owned by the Museum of Fine Arts in Boston.  Putting the two side-by-side shows how you could customize your artwork to have just the piece you liked.  Personally,  I like the NGA's piece better; it's a simpler piece and feels less cluttered.

Verdict: Don't let the odd arrangement spoil the many pleasures of this show.