The Smithsonian AIDS Memorial Quilt Block

Where: Ripley Center, Concourse

When: through February 28, 2014

The 2012 Smithsonian Folklife Festival featured a program in which parts of the AIDS Memorial Quilt were displayed each day.  Inspired by this program, staff and others at the Smithsonian created a quilt block honoring all of those staff, family members and friends who have died of AIDS.  The block is quite large, 12' by 12', and includes the Castle and gardens in the background, with an inset of small quilt pieces - some replicas of existing blocks and others, newly created.  Flowers and bushes from the garden are crocheted, reminding me of the display at Natural History of the coral reefs.  Over 140 full-time workers, docents, volunteers, interns and friends across the Institution contributed to the effort, which took over a year to complete.

It will be sent to Atlanta, to the NAMES Project Foundation, which is the home of the AIDS Memorial Quilt.  The Quilt is enormous: 48,000 panels honoring over 90,000 people.  As the AIDS crisis has faded in the United States, as people are now able to manage the disease for quite long periods of time, I think it's easy to forget just how devastating this disease was.  So many people died, in such terrible circumstances.  It's when you see the Quilt, or even a part of it, that the memories come flooding back.

Verdict: Have a look at this, both for the quilting and for the chance to be grateful that we're no longer in the midst of the crisis in the US.

Exhibiting Freer's Bibles

Where: Freer Gallery of Art

When: through February 16, 2014

The Peacock Room has a temporary addition - two Bibles that Freer acquired in Egypt.  These are from the 5th and 6th centuries, so as you might expect, they're not in the best of shape.  The picture above is from the cover of one of the Bibles, which is probably the most interesting of the three objects on display.  The color is still pretty good, and you can imagine that these wooden plates would have given the manuscript a certain heft.

The shutters were closed when I went to see these antiques, and it made me realize that it's well worth it to visit the Peacock Room when the shutters are open.  The light sensitive nature of these manuscripts means that they won't be opening the shutters until next February, so you'll have to endure the darkness (and the room is really dark without some natural light).  It also felt smaller to me than it had on my last visit.  Not sure if that's also due to the shutters, or to faulty memory...

Verdict: Always worth while to see anything as old as these, plus you can easily add on another Freer exhibit in a lunch hour.

Outwin Boochever Portrait Competition 2013

Where: National Portrait Gallery

When: through February 23, 2014

This is the third Outwin Boochever competition, and the second display of winners that I've seen.  Over 3,000 entries were submitted to this open competition.  You can see the 48 finalists now at the Portrait Gallery, and I can't urge you strongly enough to do so.

Since I started working in the Penn Quarter and have been able to go to the Mall on my lunch hour, I've probably seen between 200 and 300 exhibits.  Very rarely do I think that each piece in a show was wonderful, interesting or really eye-catching.  This was one of those times.

The first piece I saw when I entered the show was what looked like a picture of a little mad person.  Imagine my surprise to discover that it was a self-portrait!  I wondered if the artist really looks like this or if this is just how she thinks she looks.  I looked her up, and it turns out she's a completely normal looking person - not sure if that's good or bad.  Another self-portrait I can describe only as ruthless.  It's the torso of the artist, with every wrinkle and lump and layer of fat on full display.  The wall notes (another great thing about this display is that there's an artist statement accompanying each piece) indicate that the artist feels her stomach shows a life well lived.  My immediate reaction was to disagree with that idea, but then I thought, "who am I to insist that the only well-lived lives are those that end with beautiful flat stomachs?"  Still, not a piece I'd want hanging in my living room...

The piece pictured here is of the artist's niece and would be lovely as a photograph.  It's actually one unbroken black thread strung over numerous brads.  It took me a moment to really understand what that was - the artist had put an endless number of brads on a wooden panel, then strung a thread (unbroken, mind you) over them to copy a photograph of her niece.  The talent, the dedication - awe-inspiring.

To choose a favorite out of this amazing group was impossible.  I would happily go back and look at each piece again.  The layout of the show is excellent also.  It's in a large space, so there's plenty of room for each work to stand on its own (no salon style exhibit here!).  There are also some painted backgrounds - the little mad person who "welcomes" you to the show is on a yellow wall.  Kudos to those who set up this show, for doing such a fine job with the display.

Verdict: Run, don't walk, to see this excellent show. 

Views of Africa

Where: Air and Space Museum

When: through February 16, 2014

This exhibit is put up in conjunction with the "Earth Matters" show at the African Art Museum.  I don't remember any information about this display when I went to see "Earth Matters," but it's possible I read something about it, and just forgot.  I'm always happy to see references to other exhibits when I go to a show; it's very helpful for tourists to know that if they liked one display, there are others they might also enjoy.

This is a collection of satellite photographs of earth, featuring the continent of Africa.  As the wall notes tell us, "Applications of aerospace technology and expressions of fine art both provide new views of the world around us."  Very true, and a connection not often made.  It's a combination of style and substance: useful information packaged in gorgeous images.

It occurs to me that Air and Space really has quite a bit of art in its collection, although the vast bulk of what it owns seems to be very large, heavy objects suspended from the ceiling.  I'm never entirely comfortable walking around there, as I fear one of those rockets is going to make a final journey, right onto my head.

Setting aside my timidity (let alone my distaste for large crowds of screaming boys), this is an interesting show, especially if you like photography.  The images provide lots of information about the continent and how increasing industrialization is changing the landscape.  My favorite piece is something entitled "Rivers Flow to the Sea," a Landsat 7 Satellite image.  It looks like a painting, with the gorgeous blues of the rivers and the Atlantic Ocean.

The show does have an actual artwork, meaning something created by an artist, rather than by a satellite.  It's called "Core," and it's by Jeremy Wafer.  It focuses on the underground, so it reminded me of the "Earth Maters" show, and its several works about the underground.  The work is a set of 54 "logs" that are meant to represent core samples used to study layers of soil.  There is one for each African country and each is slightly different, showing the diversity of soils and landscapes in the continent.

Verdict:  Not your typical Air and Space show, but if you like a little art with your airplanes and rocket ships, this is the show for you.

Charles Freer and the Arts of Japan

Where: Freer Gallery of Art

When: through February 9, 2014

Between 1895 and 1910, Charles Lang Freer visited Japan four times.  That's neither a cheap nor short trip even today, but at the time, it was tremendously expensive and time-consuming.  To have gone four times in 15 years shows how interested he became in Japanese art.  On his first trip, in 1895, Freer was a knowledgeable tourist, but nothing more than that.  By the time he made his second trip, in 1907, he was a world-class collector.

Freer was able to obtain Japanese art in Europe and America due to the increased interest in all things Japanese in the mid to late 1800s.  This is the same craze that brought us "The Mikado."

The paintings on display are lovely.  There's one of a peacock that Freer described as "delightful," and I agree with his assessment.  Another that caught my eye was one of a crane - it's so realistic, you can see each feather delineated.  The technique is exquisite.

The show also highlights the work of Ernest Fenollosa, a great friend of Freer, who sold him a vast deal of Japanese art.  Fenollosa helped Freer to cull and shape his collection, to make it ready to give as a gift to the nation.  There's a wonderful sake ewer in this room with a copper glaze - the colors are muted, but grand nonetheless.

Verdict: A lovely way to spend some time.  Nothing like getting some information on how such a wonderful collection came to exist. 

Korean Style in Japanese Ceramics

Where: Freer Gallery of Art

When: through February 9, 2014

Gallery 6A is a small space inside Gallery 6, one of the main exhibit rooms at the Freer.  Clearly, it's been my week to see shows in little places.  It's not large enough to show pieces of any great size, so it tends to focus on small items, like tea utensils or bowls.  The current display is Japanese ceramics with a Korean influence.

Korean ceramics arrived in Japan in the 15th and 16th centuries.  At that time, the Koreans were able to make ceramics that were far superior to anything available in Japan, thus, their work was in high demand.  Even after Japanese works were able to duplicate the quality of Korean pieces, their techniques were long admired in Japan, and Korean handiwork was often used as tea bowls.  Items with an inlaid decoration were particularly prized.

The works on display here are Japanese pieces from the 17th - 19th century, which show the influence of Korean design.  An item that caught my eye was a tea cup with a crane motif.  It's a beautiful small piece - the work is very fine.

Verdict: A trip to the Freer is always worthwhile; this small display can be combined easily with the larger show on Freer and Japan.

From the Library: The Transformation of Ovid’s Metamorphoses

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

When: through February 9, 2014

Although the National Gallery's main library is in the East Building, they have a small exhibit space in the West Building.  It's a bit off the beaten track, and the first couple of times I went to see a display there I got lost.  Now, I've realized that there's a statue of an archer that points in the direction of the room, and I've made my way there many times without incident.  I appreciate that the library's offerings would not appeal to a large audience, and would therefore not merit space "front and center" in the gallery, but it's hard to attract attendance when your space is so tucked away.  The happy part for me is that the location means I'm almost always the only person in the room, so it's a way to see pieces at the National Gallery without the crowds.

The current display concerns the various versions of Ovid's Metamorphoses that have appeared over the centuries.  Ovid was a Roman poet who lived from 43 BCE to 17 CE.  He enjoyed much early success, but was exiled to present-day Romania by Augustus.  Apparently, no one is exactly sure why he was sent off from Rome, but away he was certainly sent.  The Metamorphoses are his most widely-read book, and concern themselves with the Greek and Roman myths and gods.  It's a combination of mythology and history, and uses the theme of transformation throughout the stories.

In the 16th century, it was the most important source of mythological history available.  Over the years, it has been translated, adapted and reworked to appeal to contemporary audiences - a book about transformation has itself been transformed.

The display features several illustrated volumes, all of which are lovely.  Some date as far back as the 1500s, which gives you a sense of the National Gallery's collection of books dealing with art.  The illustration art changes over time, to match the changes in art generally, but the basic stories remain the same.  They have been transformed, yet they are timeless.

Verdict: Worth a few minutes for a look in, if you're in the museum anyway.  Once you've found the space, you'll enjoy the solitude!

Lines, Marks, and Drawings: Through the Lens of Roger Ballen

Where: Museum of African Art

When: through February 9, 2014

First of all, hale and hallelujah that the shutdown has ended, and the Smithsonian is open again! As you can imagine, it was a long and horrible 17 days, with no exhibits to see.  I could feel my brain cells shrinking due to lack of intellectual stimulation.

I went to the Mall several times over the last few weeks to gaze at the buildings and pout.  Happily, the Haupt Garden behind the Castle was open (not sure why, as it would have been easy enough to shut the gates), and I spent some time sitting there, taking in the fall flowers.  Still, no substitute for going to an actual exhibit.

Now, however, the Smithsonian is back in business, and my plan for the foreseeable future is to see as many shows as I possibly can, just in case we go through this insanity again in January.  Truly, this is no way to run a banana stand.

The first show I saw after the shutdown ended was a collection of Roger Ballen's work at the Museum of African Art.  Ballen is actually an American, who has lived and worked in South Africa for over 30 years.  It's difficult to describe his photographs; they're sort of collages, involving people, animals, objects and drawings of lines.  The picture above is typical of what you'll see.  In addition to over 50 photographs, there's also a video.

I had high hopes when I went over to the Museum, as I've found that I like contemporary African art very much.  Yinka Shonibare, for example, is my favorite artist.  I also very much enjoyed the Laila Essaydi show I saw a while ago.  This, however, was really bizarre.  I can't tell you what any of this was supposed to mean, or symbolize, as I could make neither hide nor hair out of it.  It was as if I was trying to have a conversation with someone speaking a language I couldn't understand.  I wanted to say to Ballen, "I just don't know what you mean."

Perhaps my exile from the museum world has made my brain sluggish, and I should have another look at this before it closes, in hopes of seeing something more in these photographs.  On the other hand, perhaps they're just weird.

Verdict: If you're a fan of Ballen, this is a great show, with examples of his many series of photographs, along with a video.  If surreal collages are not your cup of tea, you can safely give this a miss. 

Landscapes in Passing: Photographs by Steve Fitch, Robbert Flick, and Elaine Mayes

Where: American Art Museum

When: through February 23, 2014

When one thinks of the American landscape, one generally thinks of dramatic natural beauty: the coastlines, the Rocky Mountains, the Mississippi River, the National Park System.  There is another American landscape, however, and this is what is on display in this interesting show now on at the Smithsonian's American Art Museum.

Rather than focusing on the purple mountains' majesty or the amber waves of grain, the artists featured here have concentrated on the man-made landscape, what you see out the car window as you travel down the interstate or make your way through town.  You'll never mistake these for one of Ansel Adams' prints, but they are none the less American for that.  Dare I say it, they are perhaps more American, as we've all seen the views on display in this show, but not all of us are fortunate enough to wander the forest primeval.

The photographs here were taken between 1971 and 1980 (not a time period that I associate with much beauty).  They are framed by car windows and regulated by the grid of city streets and the interstate highway system.  This is drive-through scenery, and there is nothing pristine about it.

Elaine Mayes took a cross-country trip from San Francisco to Amherst, Massachusetts and produced the pictures of "Autolandscapes" along the way. "Normally we experience our outdoor American environment by car," she's quoted as saying.  For better or worse, that's true enough.  Whenever the landscape changed, she took a picture with the car in motion.  The last photo is of a driveway, presumably the house in Amherst to which she was traveling.  There is a figure in the garage, walking out to meet her.  It seemed to me that this says something about the purpose of long journeys - we travel to see someone at the other end of the drive.

Steve Fitch's pictures are entitled "Diesels & Dinosaurs."  He photographs the creatures he encounters on his travels: roadside attractions with dinosaurs and snakes, monster trucks, even the Wigwam Motel in Arizona.  Some of his encounters are with real animals (apparently, there are any number of snake handlers that set up shop by the side of the road), others are with figures we've constructed for our own purposes.  All are part of the American landscape.  The show starts with a story Fitch relates, dealing with a disagreement between his father and his grandmother.  She thought they should take shelter from a lightning storm, while he was certain they'd be fine in his Buick.  Grandma insisted God could strike them dead, regardless of the car.  "Who was more powerful?" Fitch wondered, "Grandma's God or Dad's Buick?"  Yet another chapter in the endless contest of man versus nature.

Robbert Flick's "Sequential Views" is the result of a 1980 documentary survey of Los Angeles, funded by the National Endowment for the Arts.  These photos approximate the way that one actually encounters the streetscape in everyday life - each block has a photograph; when you look at a grid of pictures, you feel as if you're driving down the street.  It reminded me of Google Street View, or a 1980 version of it.  These may not be the images one calls to mind when thinking of LA, but they are LA nonetheless.

Verdict: Good show, easily managed in an hour - well worth a look for a picture of the America that is perhaps less photogenic than the one most often pictured.