A New Tide: Early Works by a Master Photographer

Where: National Gallery of Art, West Building

When: closing February 18, 2019

With any luck, the government will have re-opened before this show is scheduled to close.  Having a free lunch time to see this exhibit, I wasn't taking any chances on missing it.  It was time well spent, for sure.

Gordon Parks, who was self-taught, viewed the camera as his "choice of weapon" in the fight against social injustice.  He photographed those who were marginalized by mainstream society, particularly African Americans.  He had a meteoric rise from making portraits in St. Paul and Chicago to becoming the first African American photographer at Life magazine in 1949.

He did photography work for the government during WWII, then worked for Standard Oil (New Jersey) doing corporate photography, and then turned his eye to international fashion.  And that's just what he did in the 1940s.  My favorite piece is "Government Charwoman," a portrait of a cleaning woman in a government office.  It shows her holding a mop and broom, with a blurred American flag in the background.  I was reminded of Grant Wood, and the wall notes tell me I was right about that.

Verdict: Great show, well worth seeing.

*Note: due to the government shutdown, the National Gallery of Art is currently closed.

A Good Show, but a Hard One to See

Where: American Indian Museum

When: closing January 31, 2019*

If you're looking for a fun exhibit to pass some time, this is not the show for you.  This is the story of the removal of the Cherokee people from their ancestral lands in the southeastern United States to areas far west.  16,000 people were removed, of whom 4,000 died - this is staggering.

Before contact with Europeans, the Cherokee lived in a matrilineal society.  Upon marriage, a husband joined his wife's clan and the children were considered members of their mother's clan as well.  In the 1800s, during the Jackson administration, the Cherokee were forcibly evicted from their territory and made to travel to a new land in what is now Oklahoma.

Amazingly resilient, the Cherokee set up a new system of government, which survived until after the Civil War, when the American government insisted it disband.  It was only in 1971 that the Cherokee were able to once again elect their own principal chief.

Verdict: A very sad story told very well.

*Note: due to the government shutdown, the Smithsonian is currently closed.

Another Fantastic Show at the NMAAHC Gallery

Where: American History Museum

When: closing January 6, 2019*

Several years ago, when the National Museum of African American History and Culture was still under construction, the American History Museum devoted one of its exhibit spaces to shows about African American History and Culture.  I've seen all of those shows, and they have, without exception, been terrific.  The curators are phenomenal - every show, and they've been quite different from each other, is set up so well, and the stories are told so clearly.  Based on this experience, I had very high hopes for the NMAAHC itself, and, as long time readers of this blog know, they were well exceeded.

I had thought that perhaps American History would turn that gallery to other purposes once the museum opened, but happily, it has not.  The current show, which will have closed by the time this post appears, tells the story of the "City of Hope" which was set up in 1968 on the National Mall, as a way to bring attention to issues of poverty in the United States, and to honor Dr. Martin Luther King, and his legacy.

Although the U.S. was a prosperous nation after the privation of WWII, many Americans were suffering in this land of plenty, especially persons of color, the elderly and those with disabilities.  The Southern Christian Leadership Conference set up a six week long "live-in" demonstration on the land between the Washington Monument and the Lincoln Memorial, a literal city, with housing, schools and other places for residents to gather.

This display has many artifacts from this time period, including the TIME magazine cover with the Lichtenstein portrait of Robert F. Kennedy.  You walk through a wagon, like the ones that many people used to travel to DC from across the country.  You hear and see recordings of people living in what was called "Resurrection City."  There's a 3D printed model of the city, so you can get a sense of the scale of what was built.  My only criticism, and I mean this to be constructive, is that it was quite dark in the exhibit.  I assume this was in part due to the fragility of various items on display, but if the wall notes could have had some additional lighting, that would have been great.

Verdict: Another triumph for the NMAAHC Gallery at American Art.  Although this show has ended, do not miss whatever comes next!

*Due to the government shutdown, the Smithsonian is currently closed.

Just Not Feeling It

Where: Hirshhorn Museum

When: closing January 27, 2019*

Usually, I go to the Hirshhorn and hate whatever I see.  Not always, but usually.  I was actually sort of looking forward to the Charline Von Heyl show, believe it or not.  She's only a few years older than I am, and I'm interested in what my contemporaries are doing in the art world.  This is her largest museum show to date in the United States, and I liked the idea of being part of that.  But, you know what?  My reaction to her work was "meh."  I didn't love it; I didn't hate it; I just had no reaction at all.

At first, I was intrigued by her work "Melencolia," as the wall notes tell me it's inspired by Durer (and I really like Durer).  But as I looked at her piece, I could find no connection.  It could have been inspired by anyone.

There were a lot of people there, much more than usual at the concrete dount.  The week between Christmas and New Year's is like that on the Mall.  And that crowd of people seemed to be connecting to her work.  I saw no rolling eyeballs, no children making negative comments, no shrugged shoulders.  So I guess it's just me.

Granted, modern American/European art is not my favorite.  But her stuff just left me shaking my head and thinking, "What is this?  I don't get it."  It wasn't that I didn't like it; it was that I was confused by it.

Verdict: I can't really recommend this based on my own experience, but others seemed to take to it.

*Due to the government shutdown, the Smithsonian is currently closed.

Light and Dark in Renaissance Italy

Where: National Gallery of Art, West Building

When: closing January 20, 2019*

I remarked a few posts ago that I forgot to take a photograph of the Diane Arbus show at SAAM; I forgot to bring my journal to take notes of this show. Middle age is not for sissies.

So, I'm winging this post, relying on my (obviously) feeble memory to tell you what I thought of this exhibit.  The thing I recall best is that chiaroscuro is made up of two words: chiaro (light) and scuro (dark).  In addition to providing me a guide to pronunciation, it's also a great description of these works: they are both light and dark.

As longtime readers of this blog know, prints are just not my thing.  They tend to be lots of black and white, or black and some background color, and I like things with a multi-color palette.  Plus, they tend to focus on what to me are obscure bible passages or mythological references, neither of which are my favorite topics.

This show was nicely organized and well laid out.  If you are a fan of woodcuts, you should absolutely make time to see this (shutdown allowing).  If you, like me, are not a fan, you can stop bemoaning the fact that you haven't seen it yet.  I really can't remember much about the show (other than the linguistic reference), and I can recall details about shows I loved for years.  Ask me about the Yinka Shonibare retrospective at African Art that was 8 or 9 years ago - I remember it like it was yesterday.

Verdict: Fine exhibit for woodcut fans; everyone else can feel free to give it a pass.

*Due to the government shutdown, the National Gallery of Art is closed.

About Those Japanese Photographs

Where: Sackler Gallery

When: closing January 24, 2019*

This show celebrates the Freer|Sackler's acquisition of over 400 photographs, a major collection of important moments in 20th century Japanese art.  Depicting Japanese life as it has changed over the last century (the show covers the years from the 1920s to the 1980s), the viewer sees the changes in photographic methods and sensibilities as well.

All facets of life are on display here: urban and rural, people and landscapes, modern and traditional.  Some works focus on broad social issues; other turn their lens on the intensely personal.

Verdict: Fine show for those who are interested in the history of photography or fans of Japanese art in all its forms.

*Due to the government shutdown, the Smithsonian is closed.

Adapting to New Technology

 Where: Sackler Gallery

When: closing January 24, 2019*

As hard as it may be to believe in an time when Japan is a major modern country, fully a part of world culture and politics, there was a time when it was closed off from the rest of the world.  It was only in 1853 when it was thrust onto the world stage.  With the arrival of Europeans, new influences began to intrude on traditional Japanese life.  One of these influences was photography.

Woodblock printmakers were forced to adapt their craft to differentiate their work from the new and desirable photographs available to Japanese art lovers.  This is a story that plays out in every country - the attraction of novelty threatens the appreciation of tradition.  So what is an artist to do?  This show answers that question, as it pertains to 19th century Japanese printmaking.

After the collapse of their industry, printmakers very astutely realized that photography could not capture night scenes (obviously, that's no longer true, but we're talking about early photography), so that's where they turned their attention.  I was strongly reminded of the exhibit of Whistler Nocturnes I saw here (or was it at the Freer?) a while back.  Evocative of shadows and intrigue, the prints give the viewer a sense of place, as if one is stepping into a scene in a noir novel.

Verdict: Well worth seeing, if you like prints or Japanese art.

*Due to the government shutdown, the Smithsonian is currently closed.

Diane Arbus at American Art

Where: Smithsonian American Art Museum

When: closing January 21, 2019*

Although I bring along my trusty smartphone so I can take pictures at exhibits, I forgot to snap one of the Diane Arbus show - oh, the irony!  So you'll just have to hope the government re-opens or SAAM extends the run of this display so you can see for yourself.

Diane Arbus created a portfolio of ten photographs, beginning work in 1969.  She made eight of them, four of which sold.  One of those copies went to Bea Feitler, the art director at Harper's Bazaar.  For this particular copy, Arbus added an eleventh photograph.  SAAM acquired this copy in 1986, and it is the only copy which is publicly held.  It is this copy that is the basis of the show.

During her lifetime, Arbus enjoyed only modest success.  After her death, however, she has had a "posthumous career of extraordinary acclaim."  Her work began the acceptance of photography as an art form.  Her appearance at the Venice Biennale was a huge deal; it's hard to imagine that photography wouldn't be considered art, but it's true.

Her work is interesting; she photographs people who are outside the norm in some way.  The photographs can be disturbing; I don't know that I'd want them hanging in my house.  They make you think; they grab you and force you to pay attention.  "A woman with her baby monkey, N.J. 1971" for example,  gives me the creeps.

Verdict: If you're able to see this, it's definitely worth your time.  This is where art photography began.

*Due to the government shutdown, the Smithsonian is closed.

More Rachel Whiteread

Where: National Gallery of Art, Library

When: closing January 11, 2019*

If you liked the Rachel Whiteread show, step over to the Library and see information on her "Ghost" installation.  She casted the entire interior of a London terrace house (what we in the US would call a townhouse).  This work was shortlisted for the Turner Prize (an annual award to a British artist).

A man happened to see some information on this on the National Gallery of Art website, and lo and behold, he and his family used to live in the house she used!  He sent lots of photos of himself and his family to the National Gallery, which make up a substantial part of this display.

Verdict: Sometimes, the Internet is a force for good.  This is an interesting follow-up to the Whiteread show.

*Note: if the government shutdown continues, the National Gallery may not be open beyond January 2.

Sculpting Space

Where: National Gallery of Art, East Building

When: closing January 13, 2019*

Rachel Whiteread makes casts of the space in and around objects.  At the very beginning of her major retrospective currently on display at the National Gallery, there are many brightly colored boxes, arranged in rows.  Turns out, they are the space underneath chairs.

Although I didn't recognize her name, I recognized her cast of the space under a bed, made out of dental plaster.  I saw it at the Hirshhorn several years ago, and I remember thinking at the time, "Well, isn't that something?  Why exactly would someone want to do this?"  Seeing a lot (a lot - this is in the huge space in the East Building on the concourse level) more of her work, I have more appreciation of some of it.  The space under the bed is still perplexing.

Apparently dental plaster is one of her preferred media, as she's also done a range of library shelves, or I should say, the space around a range of library shelves, out of dental plaster, which I've included here (because of course I did).  It may be hard to see in this photo, but it's not the books, it's the space around the books.  If you can look at it close up, you'll see what I mean.  Because I just can't let an opportunity to criticize the Hirshhorn pass me by, I noticed that this piece belongs to them.  Why is it not on display?  Is it that they're pressed for space, and the "underneath the bed" piece is smaller?  If that's the case, I've got a long list of things they could consign to storage to make room for this.

She also does photography, and a series of pictures of a demolished public housing project in East London is among her works.  This I understand, or at least, I think I do.  Granted that public housing projects are often ugly, dirty and crime-ridden, what happens to the people who live there when they are torn down?  Especially if they are removed to make way for more posh living arrangements?

I also was moved by her piece CONTENTS.  This is the space in boxes of her mother's belongings she cleaned out.  Since I'm doing a lot of cleaning out of my own mother's belongings, this resonated.

At the end of the show, there's a daybed you can actually sit on - I'm always excited to be able to "touch the art"!

Verdict: This is an enormous show, so you'll need more than a lunch hour to see the whole thing.  Some of it is just weird; some of it is pretty good.

*Note: if the government shutdown continues, the National Gallery may be closed after January 2.  Check the website for more details.

This is What Despair.com is Satirizing

Where: American History Museum

When: closing February 6, 2019

I think the Smithsonian must have changed the closing date for this Archives Center display, as I saw it in my mad rush to see as much as possible before the shutdown, when I was trying to see everything I could that was closing in January.  [Spoiler alert: I managed to see all the shows closing this month!]  This is now scheduled to run until early February, so I hope there will be plenty of time to see it.

I know Archives displays are not everyone's cup of tea; I'm frequently the only person looking at them, even when the museum is crowded with school groups and families.  But, having worked in libraries for 30 years now (how can this be?!?) I have a great fondness for the displays that librarians and archivists put on, so I make a point of going to see them.

Are they all fascinating?  Well, no.  Some of them only an archivist could love.  But sometimes, they are pretty good, and this is one of those times.  If you've ever rolled your eyes at an inspirational poster, and you think nothing could be more annoying than a Jonathan Livingston Seagull picture, you ain't seen nothing yet.

The 1920s were the heyday of these hangable bromides; work hard, pay attention to detail, care about the quality of your work - and you will get ahead.  In 1929, that was revealed to be a questionable assumption at best, and the posters disappeared.  Not that I have anything against hard work, attention to detail or caring about quality.  I care about those things a lot.  But I'm also a cynic, and looking at these made my eyes roll so far back in my head, I was afraid they would never roll forward.

In particular, I noticed one of a series of posters with the sayings of a fictional salesman, Bill Jones.  Jones advised workers to keep their nose to the grindstone and never slip up in what were called his words of wisdom.  One of them went: "Mistakes in every language cost money / The more interest, the less mistakes."  I would have been more willing to follow his advice, if he hadn't made a mistake in the English language in his own poster!  It's "fewer" mistakes Bill, not "less."

Verdict: Lots of fun, even (or perhaps especially) if you don't like motivational posters.

Another "Unseen" Show

Where: National Portrait Gallery

When: closing January 6, 2019*

Unlike the Trevor Paglen exhibit, that also has the word "unseen" in its title, I really liked this show.  Two contemporary artists, Ken Gonzales-Day and Titus Kaphar, re-work portraits of famous Americans to highlight the existence of other, less famous, Americans, to show the full picture of American history.  I was reminded of other displays I've seen recently that have done the same thing.  I've thought all of these shows have been good, and I hope there are more to come.

Traditionally, portraits have been made of white, male, property-owning Americans.  Think Presidents of the United States, or generals or captains of industry.  You might see portraits of women or persons of color associated with these men, but those were fewer in number.  Women or persons of color were very rarely depicted based on their own accomplishments.  This means that museum-goers get a very one-dimensional view of history, and this show sets out to change that.

Titus Kaphar's work is a "manipulation of seemingly canonical imagery."  He wraps or cuts or rolls portraits to reveal or draw attention to those beyond the "rich white male" originally highlighted.  I particularly liked the one of Senator Thaddeus Stevens, partially rolled up to reveal a picture of Lydia Smith, an African-American woman with whom he lived.

Ken Gonzales-Day's work focuses on how depictions of white males make everyone else seem somehow "other" or "alien."  He calls out museums, including the Smithsonian, for their collecting practices that tell only one part of the human story.  It made me wonder, "Why do we emphasize the importance of skin color?  Why not separate people based on height or eye color or nose size?"

In his "Erased Lynching" series, the victims are erased, leaving the bystanders as the subject of the painting.  Although it seems as if this would negate the idea of emphasizing a person of color, I think it puts the emphasis where it belongs: on white people who killed so many of their fellow human beings.

Verdict: I thought this show was really good, and I hope lots of people got a chance to see it.

*Remember: if the government shutdown continues, the National Portrait Gallery, along with the rest of the Smithsonian, will close on January 1