Colorful Realm: Japanese Bird-and-Flower Paintings by Itō Jakuchū (1716–1800)

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

When: through April 29, 2012

Well, that explains what all the work was going on in the National Gallery over the past weeks.  The middle of the main hallway was closed off, and I spent lots of time wandering through side galleries to get to the East Building.  They've been preparing for this exhibit of Japanese bird-and-flower paintings, and it's been worth the wait and detours.

This series of 30 paintings on scrolls is considered to be the greatest work of bird-and-flower paintings in Japanese art.  I'm certainly not qualified to make such a statement, but the paintings are so lifelike and so beautiful, that I'm willing to take that assertion as fact.    In addition to these paintings of the natural world, there are three other paintings on display: of the Buddha and two Bodhisattvas, known as the Sakyamuni Triptych.  The works are so fragile that they can only be displayed for a short time (the show is at the National Gallery for only a month).  This is the first time they have ever been displayed outside Japan; they're here in honor of the 100th anniversary of the Japanese gift of the cherry trees to Washington, DC.

The artist, Ito Jakuchu, was one of the most inventive painters of the Edo period (1615-1868), and was not allied with any particular school of painting - he went his own way, and what a way it was.  The paintings are absolutely stunning - the colors, the brushwork, the attention to detail - all amazing.  The Sakyamuni Triptych is where I started my visit.  I noticed the swastika on the Buddha's chest, and was reminded that this is an ancient religious symbol.  Sadly, it was appropriated by the Nazis, so to Western eyes it symbolizes nothing but anti-Semitism, horror and death.  I gather it means, among other things, eternity in the Hindu religion.  The Buddha's two companions, the Bodhisattvas, are riding unlikely animals - one is on a lion and the other on an animal I can't identify, but which looks elephantine.

These creatures stand in contrast to the completely natural and lifelike creatures in the 30 scrolls on either side of the Triptych.  Apparently, Jakuchu kept eight chickens of his own, in order to better capture their movements and features in his paintings.  In order to enhance his paintings, he painted the back of the scrolls - the effect is wonderful.  Certain colors seem to glow from the scrolls.  One of the scrolls featuring marine life shows the first example of the use in East Asia of the synthetic dye called Prussian Blue.  I'll see this color again when I head to the Sackler for their exhibit of fragile Japanese art, 36 Views of Mount Fuji, according to the notes accompanying the piece - the first time I've gotten a "preview of coming attractions," I think.

One of my favorite pieces is one entitled "Maple Tree & Small Birds."  The wonderful autumn colors of the maple painted in 1765 are just the same as the ones I see in my neighborhood in the 21st century.  Much has changed in the world since that painting was first done; the beauty of the natural world has a permanence that is comforting in its own way.

In addition to the colors and the brushwork and the wonder of these works having been preserved for well over 200 years, I like very much the allegorical nature of the paintings.  You can look at them strictly for their beautiful depiction of nature, but you can also see that these paintings are meant to represent other things: desirable qualities and long-lasting relationships as well.

Verdict: I can't recommend this exhibit enough.  Take time to see this show, as it's unlikely you will have the chance to see it again.  Expect crowds much larger than those you get at the Sackler and Freer (the usual places I go to see Asian art).

The Black List: Photographs by Timothy Greenfield-Sanders

Where: National Portrait Gallery

When: through April 22, 2012

Usually the term blacklist is used to describe a group of people excluded from something, people who are not wanted or are undesirable.  Timothy Greenfield-Sanders and Elvis Mitchell decided to give a new meaning to the term, to create a new Black List - one that people would want to be on.  Greenfield-Sanders photographed 50 prominent African-Americans, and Mitchell interviewed them.  Both the photographs and the interviews are on display in this exhibit.  It is by no means an exhaustive look at every prominent or important African-American; Greenfield-Sanders and Mitchell acknowledge this in the opening description of the show.  Sadly, not everyone they wanted to include was available for the project, so some people are conspicuous by their absence.

One interesting thing about the exhibit is that even though one photographer took all the pictures, and they all are photographed against very plain backgrounds, and they are almost all face forward shots,  there's nothing boring about the show.  Greenfield-Sanders is such a talented photographer that his subject's personality comes through and grabs your attention.  The text included with each photograph is interesting as well.  I had no idea that Whoopi Goldberg came up with her stage name by combining the whoopie cushion and a nod to Jewish comedians.  I'd never really thought about her name before, but now I know the background.

I went to the show with a friend of mine, and we watched some of the interviews before the press of work called us away.  I don't know what questions Mitchell asked to elicit people's commentary on their lives and careers, but it's really intriguing to see the photographs and then hear those people talking - a very inventive combination, and one I think the museum might have highlighted more.  I didn't know there were videos until I was in the exhibit.

Verdict: Do go see this show - it's a combination of great photography, current history and thought-provoking interviews.

Art of the Stamp: Owney the Postal Dog

Where: National Postal Museum

When: through April 30, 2012

I confess I'm rarely excited to see an exhibit at the Postal Museum.  I've tried very hard in the past to be enthusiastic about this museum, but, unless you're a total stamp nut, it's hard to get worked up about the postal industry.  I have seen some interesting shows there; the one on FDR and Depression-era stamps was quite good, but generally, I go more for the exercise involved in walking over to Union Station than because I'm anticipating a show that will live in my memory forever.  This display (it's really too small to be called a show) is much in keeping with the rest of the museum: informative, but nothing to write home about.

Owney was a terrier mix who used to go with his owner when he worked at the Albany Post Office in the late 1880s.  When his owner got a new job, Owney stayed on with the Postal Service, eventually becoming the mascot of the Railway Mail Service.  He traveled on the mail trains and picked up numerous tags along the way, given to him by mail clerks to mark his journeys.  The final stamp shows Owney's profile with a background of tags.

There is more information about Owney in the rest of the museum, including Owney himself! Apparently, after his death, someone stuffed him and he's now on display.

Verdict: If you love stamps, or are in the Union Station area with a few minutes weighing heavy on your hands, check this out.  Otherwise, feel free to give it a miss.

Black Box: Ali Kazma

Where: Hirshhorn Museum and Sculpture Garden

When: through April 30, 2012

Anyone who's read this blog for any period of time knows my views on the Hirshhorn, so I won't repeat them here.  If you're new, just search for any other blog post about a show at the Hirshhorn, and you'll get the picture quickly.

One of the things I really like at the concrete doughnut is their "Black Box" series of films.  You have to go in expecting weird cinema, because it's not as if you're going to get plot or character development or witty dialogue here, but that's alright, I love these things anyway.  "Floating McDonald's" remains my favorite, but this film by Ali Kazma called "O.K. 2010" does not disappoint.

It's seven screens of a person (I'm assuming it's the same person shot from different angles, but it could be several people) stamping a pile of documents.  Over and over, they stamp page after page at breakneck speed.  The museum's commentary suggests that perhaps the stamping was done much more slowly and the film merely sped up to suggest lightning-quick reflexes, but I'm not so sure.  I once took a tour of the Government Printing Office (is my life one long series of thrilling moments or what?) and saw people checking pages numbers on books at about this pace, so anything's possible.

One discordant note I found was that the person is dressed in a suit and tie - surely that's a bit overdressed for a job stamping documents?  It occurred to me that watching this would be an efficiency expert's dream - how should the person position the stack of paper to minimize discomfort; where should the stamp inker be put to ease re-inking the stamp?  One of the less exciting aspects of my job is that I have to file books called loose-leafs.  They are basically binders with loose pages in them - new pages go in, old pages go out.  I was able to watch someone do a job more onerous than that, so I'll view it with less repugnance the next time I set at it.

Verdict: "Black Box" videos are always worth a look - this is no exception. 

Stamps of Approval

Where: Smithsonian Castle

When: through April 29, 2012

I like going to the Castle; it's a beautiful building, and one can remember what the Smithsonian used to be  - one museum with a hodgepodge of items all jumbled together.  If you've not been to the Castle before, it's well worth a visit, regardless of what's exhibited there.

This show features several of the 20th century items shown on stamps issued by the Postal Service in their Pioneers of American Industrial Design collection.  It occurs to me that the Postal Museum might have been a more logical location for this show, but it's more convenient for me to go to the Castle, so I'm not complaining.

These items are the work of industrial designers, who shaped the look of life in 20th century America.  In the 1920s, companies began to hire these people, to give their products a modern, streamlined appearance.  My favorite items on display were the Fiestaware pitchers designed by Frederick Hurlen Rhead - the shape and the colors are wonderful.

Many more of these items are on display at the Cooper-Hewitt Museum in New York; I'd never thought much about this museum since it's not in DC, but now I think I'd enjoy a trip.

Verdict: Do go see this show - everything on display has a marvelous look to it - well worth some time to admire.

In the Tower: Mel Bochner

Where: National Gallery of Art, East Building

When: through April 29, 2012

On the same day that I saw the library exhibit (described above), I also trekked up to the East Building's Tower to see their current show.  I think I've mentioned before that the Tower rooms are really a Hirshhorn in miniature - very modern art, which fills me with a desire to roll my eyes.

The current offering is Mel Bochner, and I must admit, it was less ridiculous than many things I've seen in this space.  The large room is filled with works similar to the one pictured:  canvases with words painted on them.  Each has a theme, and as the words proceed down the page, the language becomes less erudite and more slang.   I really like the bright colors, and it's fun to think of other words Bochner might have included.  One of the paintings is entitled DIE and one of the phrases is "go home feet first."  I've never heard this expression, but I plan to incorporate it into my vocabulary.

The Gallery commentary on the exhibit alerts us to the fact that, because Bochner is painting words, the paintings require us to read and see at the same time.  Surely, one cannot read without seeing?  I think I understand what they mean, but one cannot help but frown at this awkward wording.

Verdict: One of the few shows I've seen in the Tower that's worth the journey.

In the Library: Marks of Ownership

Where: National Gallery of Art Library, East Building

When: through April 27, 2012

Yet another exhibit in the National Gallery's library, yet another opportunity to wish I worked there.  I'm sure it's like any workplace: full of tedium, punctuated by meaningless drama, but to the casual visitor, it seems an idyllic escape from the outside world.

The current exhibit deals with bookplates - those things you stick in a book to indicate that it belongs to you.  I'm sure I once received some bookplates (if I remember correctly, they featured a cat), but I don't know that I've ever used them.

Bookplates came into use with the invention of movable type.  Owners had to find a way to show that particular copies of books belonged to them.  Bookplates were the most popular way to do this, although some people bound the books in a particular way to show they were part of the owner's collection.  Edward Minman Martin, Esq. pasted an engraving of himself in the front cover - no need to worry another Edward Minman Martin might make off with his property.

I found out that a book's provenance can be more difficult to establish than that of a work of art, and bookplates can be quite helpful to the researcher in determining who has owned a book.  Among the pieces on display, one book contains a bookplate indicating it belonged to Edith Wharton and several bookplates included verses with warnings to thieves.  There were also some library-themed bookplates, not much of a stretch, but one even included an engraving of a librarian.

Verdict: A small show, easily seen in a lunch hour, and quite interesting if you like books.

The Walt Disney-Tishman African Art Collection Highlights

Where: African Art Museum

When: through April 15, 2012

In 1959, Paul and Ruth Tishman began collecting African art.  When asked why they chose to do so, Paul Tishman compared it to falling in love - how could it be explained?  They set out to collect objects from every region of the continent, perhaps an impossible task.  In 1984, they sold their pieces to the Walt Disney Corporation, which was intending to display them publicly.  This project never came to fruition, and, in 2005, Disney gave the collection to the Smithsonian, where it has remained to this day.

What is on display is a small portion of the collection, about 64 items out of  525 pieces total.  This show has been "on" since 2009, and has been slated to close several different times.  I've wondered if I'd ever see it, as they kept extending its stay!  They may have a new show coming now, as it seems as if the exhibit really is closing this time.

As someone who knows next to nothing about African art, I always find it a bit intimidating to go to shows at this museum.  There's lots to see here - a dizzying array of carvings, functional items, masks, figures of both people and animals.  What occurred to me as I was leaving is that there is no painting, and as I thought about it, I realized that any time I've seen traditional African art, it's been carving, never paint on canvas.  Why that is, I know not.

Verdict: If you like African art, don't miss this exhibit.  The collection is extensive and even this sampling gives you a sense of the scale of the entire thing. 

Mark Rothko: Seagram Murals

Where: National Gallery of Art, East Building

When: through April 15, 2012

 I had quite a time finding this exhibit, so I'm going to give detailed instructions on how to find it - you can benefit from my confusion!  First of all, the website indicates that this is on the ground level, the same floor as the Antico exhibit.  This is incorrect.  It is, in fact, on the concourse level, down a flight of stairs from the small gift shop outpost in the East Building.  Proceed to your right, past the Matisse cut-outs, which have their own separate room.  If you get to the Calder mobiles, you've gone too far.

Okay, now that you know how to get to the paintings, let me tell you what you'll see once there.  Rothko was given a commission to design some paintings for the Four Seasons dining room in the Seagrams Building.  He got a little carried away, and painted 30 pieces, when the space could only fit seven.  Eventually, he decided that a restaurant was not the best venue for his works and abandoned the commission.  On display are three of his works (if I'd known the exhibit was so small, I would have combined this with the Antico exhibit).  The colors are all what you see above - red/rust with orange - not the happiest combination, in my view.

Verdict: Why not have a look at them if you're in the East Building for something else?  I wouldn't necessarily make a separate trip, but it might be worth it if you're a Rothko fan. 

Antico: The Golden Age of Renaissance Bronzes

Where: National Gallery of Art, East Building

When: through April 8, 2012

This exhibit is illustrative of the reason I go to see the special shows at the Smithsonian and the National Gallery.  They are often on a subject about which I know nothing, and I learn an enormous amount, in a short period of time and for free.  Truly, DC is a great place to live (despite what you might hear on TV or from various politicians) and I thank my lucky stars I'm able to take advantage of the many cultural events it offers.

During the late 1400s and early 1500s, many excavations of ancient sites took place and this fostered a great interest in classical sculpture.  As there were not enough original pieces to go around, those wishing to have these types of works in their homes turned to sculptors, preeminent among them Antico, to make reproductions.  This is the first exhibit of his works in the United States and features over 3/4 of his existing pieces.  Antico, so called because he was considered to have such a great understanding of Greek and Roman art, not only reproduced antiquities, he also invented the pieces of classical sculpture that were missing - noses, arms, sometimes even entire heads.
 
In one of the display cases, there is an original of Hercules (at least it is believed to be original) and two copies by Antico.  It's wonderful to be able to see his work, alongside that which he was trying to imitate.

In addition to bronze, Antico also used gold and silver to enhance his works.  Frequently, the eyes of a piece would be silvered.  Frankly, I found that a bit creepy!

Verdict:  Go see this show - it's not terribly large, so it's easily managed in a lunch hour, and it's very interesting, even for the novice in this type of art.