Where: Smithsonian Castle
When: through January 31, 2017
If, like me, you're still waiting to go to the National Museum of African American History and Culture, seeing a model of the museum will either give you a tiny substitute until you're able to go, or make the waiting all the more excruciating.
For me, I was able to savor it as a preview of coming attractions, as I have a ticket to see the museum in April! Expect a blog post on my experience, obviously.
Verdict: Great or awful, depending on your point of view.
Showing posts with label January 2017. Show all posts
Showing posts with label January 2017. Show all posts
Wednesday, February 22, 2017
Tuesday, February 21, 2017
You Are There
Where: Museum of African Art
When: through January 31, 2017
I don't believe I'd ever been to an exhibit of "sound art" before, but I'm quite happy to hear more. The Museum of African Art specifically commissioned this piece, which features sounds from a market in Lagos, Nigeria (over 5,000 miles away), played in a small room. You feel surrounded by the sounds of people buying and selling, and since I experienced it (hard to say I saw it, since there's nothing to see) right after going to the Turquoise Mountain show in the International Gallery, I had no problem imagining the scene.
Verdict: Great fun, and very easy to add on to another show.
When: through January 31, 2017
I don't believe I'd ever been to an exhibit of "sound art" before, but I'm quite happy to hear more. The Museum of African Art specifically commissioned this piece, which features sounds from a market in Lagos, Nigeria (over 5,000 miles away), played in a small room. You feel surrounded by the sounds of people buying and selling, and since I experienced it (hard to say I saw it, since there's nothing to see) right after going to the Turquoise Mountain show in the International Gallery, I had no problem imagining the scene.
Verdict: Great fun, and very easy to add on to another show.
Saturday, February 4, 2017
Virginia Dwan, You Have a Lot to Answer For
When: through January 29, 2017
I realize I'm blogging about an exhibit that's already closed, but if you missed this one, count yourself lucky.
I had never heard of Virginia Dwan before, but it turns out she encouraged a lot of people whose art I do not like. So thanks for nothing, Virginia! She had two galleries: one in LA that exhibited NY and European works, and one in NY that exhibited works from LA. I like the idea of providing people access to works they wouldn't ordinarily see; I just object to what those works were.
You start with abstract expressionism, which I think is just so ugly, and you move onto to Yves Klein and his ridiculous selling of the experience of throwing gold ingots into the Seine (literally: a fool and his money are soon parted) and Dan Flavin and his flourescent lights. And let's not forget our friends, the monochrome painters. A great big bunch of YUCK is the best way I can describe this.
Also on view, in the Library, was some materials from the Dwan Archives. All I can say is that if one liked this art, one would be interested in the documents, but one does not.
Verdict: This sort of thing belongs in the Hirshhorn, where one expects to see it.
Sunday, January 15, 2017
The Lengths People Would Go to Gather Bird Droppings
Where: American History Museum
When: through January 29, 2017
To be honest, I don't usually expect an exciting show when I go to the Small Documents Gallery at American History. Not that the displays can't be interesting, but documents don't generally lend themselves to blockbuster exhibits. The current display pushes the arcane aspect to the limit, I think.
In the 1800s, people began to use bird droppings (guano) as fertilizer. Apparently, the stuff is tremendous, increasing yields exponentially. And if there's money to be made, people will do anything, including sailing to remote islands to gather bird crap and cart it back home to sell. Which they did.
The centerpiece of the display is the Norie Marine Atlas, which is considered the pinnacle of the printmaker's art, and the only copy in a public collection. It's quite large (a double elephant folio) and not in the best of condition, but it's impressive nonetheless. Coastlines were well filled out, but the interiors of South America were largely blank.
Of course, the guano trade ended in the way so many of these stories do: humans stepped in and harvested all of the bird crap (which was 200 feet high to start), destroying the sea birds' habitat in the process. Sort of like the passenger pigeon, except with droppings.
Verdict: If you skip this, it's okay. Unless you're interested in 19th century navigation or the history of man's relationship with birds. Then you should see this.
When: through January 29, 2017
To be honest, I don't usually expect an exciting show when I go to the Small Documents Gallery at American History. Not that the displays can't be interesting, but documents don't generally lend themselves to blockbuster exhibits. The current display pushes the arcane aspect to the limit, I think.
In the 1800s, people began to use bird droppings (guano) as fertilizer. Apparently, the stuff is tremendous, increasing yields exponentially. And if there's money to be made, people will do anything, including sailing to remote islands to gather bird crap and cart it back home to sell. Which they did.
The centerpiece of the display is the Norie Marine Atlas, which is considered the pinnacle of the printmaker's art, and the only copy in a public collection. It's quite large (a double elephant folio) and not in the best of condition, but it's impressive nonetheless. Coastlines were well filled out, but the interiors of South America were largely blank.
Of course, the guano trade ended in the way so many of these stories do: humans stepped in and harvested all of the bird crap (which was 200 feet high to start), destroying the sea birds' habitat in the process. Sort of like the passenger pigeon, except with droppings.
Verdict: If you skip this, it's okay. Unless you're interested in 19th century navigation or the history of man's relationship with birds. Then you should see this.
Saturday, January 14, 2017
That's One Big Blue Rooster
When: through January 22, 2017
So I finally had a chance to see the new and improved East Building of the National Gallery of Art this week. There are now three towers; the original one is called Tower 3. I mention this as I spent a lot of time walking around Towers 1 and 2 before finally asking a guard how to find the Barbara Kruger exhibit. I wound up pretty much back where I started, so I made notes in my trusty journal about how to get up there from the Concourse.
On my way, I went out on to the rooftop garden, which I think will be lovely in the warmer months, and saw the pictured statue. If you're looking for a big, blue rooster, you can't do better than this.
I really enjoyed my time with the Kruger pieces, once I found them. They are very large photographs of images she's found in popular magazines or in advertising, with her own text superimposed. My favorite was one of two children: a boy flexing his muscles and a girl looking on admiringly. The caption? "We don't need another hero." Amen to that, Barbara. Amen to that.
So it's been a surprising couple of weeks: first I loved something I saw at the Hirshhorn, and now I thought the trek up to the Tower at the National Gallery was worth the trip. Will wonders never cease?
Verdict: Go see these commentaries on modern society; the cardio workout up the spiral staircase is not the only attraction.
Wednesday, January 11, 2017
Stashed Away Under the Escalators
Where: The Postal Museum
When: through January 16, 2017
The Postal Museum doesn't often have special exhibits, so I don't visit very mjuch. When I worked close by, I saw the permanent collection, so I only go if there's something temporary up. The last thing I recall really liking was a show about Franklin Roosevelt and stamps.
This week, I went over to see two documents, borrowed from a private collection, that are important to the history of the British mail service. The first was a declaration from Charles I that the Royal Mail could be used for private purposes, dating from 1635. It's in very fine condition, for being almost 400 years old. The second is comparatively recent, from 1840; it's a letter sheet proof for the first stamp for individual use of the post office. From 1635 to 1840, the mail was used largely for business purposes; this allowed private persons to use the mail as well.
My only quibble is that this display is literally under the escalators running between the museum's first and second floors, so it's very easy to overlook them. Perhaps they wanted something that wouldn't get a lot of light, but surely they could have managed something a bit better than this?
Verdict: Worth seeing if you're a British history buff.
When: through January 16, 2017
The Postal Museum doesn't often have special exhibits, so I don't visit very mjuch. When I worked close by, I saw the permanent collection, so I only go if there's something temporary up. The last thing I recall really liking was a show about Franklin Roosevelt and stamps.
This week, I went over to see two documents, borrowed from a private collection, that are important to the history of the British mail service. The first was a declaration from Charles I that the Royal Mail could be used for private purposes, dating from 1635. It's in very fine condition, for being almost 400 years old. The second is comparatively recent, from 1840; it's a letter sheet proof for the first stamp for individual use of the post office. From 1635 to 1840, the mail was used largely for business purposes; this allowed private persons to use the mail as well.
My only quibble is that this display is literally under the escalators running between the museum's first and second floors, so it's very easy to overlook them. Perhaps they wanted something that wouldn't get a lot of light, but surely they could have managed something a bit better than this?
Verdict: Worth seeing if you're a British history buff.
Tuesday, January 10, 2017
An Invitation I'm Happy to Accept
When: through January 16, 2017
Every other year, the Renwick showcases four artists that it believes deserve wider recognition. Based on what I've seen over the years, I hope they get it. I still have vivid memories of the knitted superhero costumes I saw several years ago.
This year's offerings are wonderful. The pic is from the works of Steven Young Lee - I really wish I could buy one of those cups. They are incredibly inviting somehow; I can imagine myself sitting down with one, full of tasty chai, enjoying a good book. Lee's ceramics are just great - as I walked through the display of vase and pots, each with a hole in it, or deformed in some way, I was reminded of a show I'd seen at the Freer (which is supposed to re-open this year - hooray!) about the art of mending pottery. And lo and behold, what should I see but a jar with exactly that sort of repair work. Such a sense of self-satisfaction!
I also loved the jewelry of Jennifer Trask - stunning colors, particularly in "Sea Change Brooch." Norwood Viviano traces human migration patterns to make his art, and Kristen Morgin uses clay for her "created nostalgia." You think you're looking at a deck of cards or a lunchbox or "Peterson's Field Guide to the Birds," but it's all clay.
Verdict: The Renwick Invitational is always good; when you go, remember that preparations are well underway for the inauguration, so you may have to walk a bit out of your way.
Monday, January 9, 2017
Not Quite as Memorable as the Last Time
Where: National Portrait Gallery
When: through January 8, 2017
Every three years, the National Portrait Gallery holds an art competition. This year, there were 2,500 entrants (professionals and non-professionals), and 43 of the finalists' work is on display. I liked this show, but it wasn't as good as the previous display three years ago. Of course, that was one of the best shows I've seen, each piece would have been the star of any other exhibit, so that's an amazingly high bar to meet.
There were a couple of interesting pieces: "A Moment in Time" was a series of portraits of the artist in period costume, taken with period photographic technology and displayed in period frames. Starting in 1850 and ending in 2010, you can see the changes that 260 years have brought to clothing, technology and design. "Caja de Memoria Viva II: Constancia Colon de Clemente" was a multimedia display hung from the ceiling - you walked under it and were immersed in an audio-visual display.
Verdict: Good, but not great. Worth seeing, but nothing you have to run to see.
When: through January 8, 2017
Every three years, the National Portrait Gallery holds an art competition. This year, there were 2,500 entrants (professionals and non-professionals), and 43 of the finalists' work is on display. I liked this show, but it wasn't as good as the previous display three years ago. Of course, that was one of the best shows I've seen, each piece would have been the star of any other exhibit, so that's an amazingly high bar to meet.
There were a couple of interesting pieces: "A Moment in Time" was a series of portraits of the artist in period costume, taken with period photographic technology and displayed in period frames. Starting in 1850 and ending in 2010, you can see the changes that 260 years have brought to clothing, technology and design. "Caja de Memoria Viva II: Constancia Colon de Clemente" was a multimedia display hung from the ceiling - you walked under it and were immersed in an audio-visual display.
Verdict: Good, but not great. Worth seeing, but nothing you have to run to see.
Sunday, January 8, 2017
In Memoriam: John Glenn
Where: National Portrait Gallery
When: through January 9, 2017
One of the great losses of 2016, a lousy year if ever there was one, was astronaut, Senator and all-around great person, John Glenn. If more public servants could show his courage and decency, the world would be a better place.
The work itself is unfinished, or at least, it looked so to me. My thought was that perhaps it is meant to evoke the unfinished nature of our exploration of our world, whether here on earth or in the wider universe.
Verdict: If you're at the museum before Monday, add this to your visit.
When: through January 9, 2017
One of the great losses of 2016, a lousy year if ever there was one, was astronaut, Senator and all-around great person, John Glenn. If more public servants could show his courage and decency, the world would be a better place.
The work itself is unfinished, or at least, it looked so to me. My thought was that perhaps it is meant to evoke the unfinished nature of our exploration of our world, whether here on earth or in the wider universe.
Verdict: If you're at the museum before Monday, add this to your visit.
Saturday, January 7, 2017
A New Favorite in a Most Unlikely Place
When: through January 8, 2017
If you've not been to see Ragnar Kjartansson's mid-career retrospective at the Hirshhorn, stop whatever you're doing and run right over there this minute to see it before it closes tomorrow.
I've not been this excited about an artist since Yinka Shonibare, and regular readers of this blog will know how much I love his work.
My only regret is that I didn't see this show earlier in its run, so I could have seen it again. Yet another argument against procrastination. I confess, I thought it would be yet another Bataan Death March show on the Hirshhorn's second floor, a slog I'd be happy to see end. In the event, nothing could have been further from the truth. When I realized I'd made the full circuit, I was surprised and sorry that it was over.
So many great things in this show. "Woman in E" is getting lots of press and deservedly so, so I'll refrain from adding my voice to the chorus of praise. The video in the first room, where Death walks with children was creepy and funny all at the same time. "You're just an elf with a stick," says one perceptive child - hilarious. One of the wall notes speaks of "...the inevitable disappointment of romantic desire." And the piece in the photo above (taken by me - another resolution for 2017, to use my own snaps) was described as referring to "...long-suffering Scandinavian icons of gorgeous misery."
Perhaps my favorite part was the enormous video installation, with multiple screens, of the artist and his friends all playing the same tune in a large house, each on a different instrument. They wander about from screen to screen - you almost feel as if you're there with them.
Verdict: Great stuff - do not miss this!
Tuesday, January 3, 2017
A Day Brightener
Where: American History Museum
When: through January 8, 2017
I really love the Muppets. I loved them when I was a kid watching Sesame Street, I loved them as a teenager when The Muppet Show was on, and I love them still. I headed over to American History last week to see what I thought would be Fozzie Bear and the Swedish Chef, but somehow, turned out to be Cookie Monster and Elmo. Since the Swedish Chef is one of my absolute favorites, I was somewhat disappointed, but seeing Cookie Monster from 1969 was pretty amazing.
The original Kermit is also on display; I'd seen him before, but if you haven't seen him, you really need to do so. The Muppets attracted quite a crowd, which gladdens my heart. Miss Piggy is still in the front display case with Carole Burnett's scrub woman costume and a dress belonging to Phyllis Diller, and she (Miss Piggy) generated a lot of interest from those in line making their way through security.
I took a photo of the incredibly long line to get into American History, but my phone and my email are not on speaking terms at present, so just imagine a line stretching from the door all the way to Constitution Avenue, and you have an idea of what the crowds are like.
Verdict: It's always a good idea to see a Muppet whenever you can.
When: through January 8, 2017
I really love the Muppets. I loved them when I was a kid watching Sesame Street, I loved them as a teenager when The Muppet Show was on, and I love them still. I headed over to American History last week to see what I thought would be Fozzie Bear and the Swedish Chef, but somehow, turned out to be Cookie Monster and Elmo. Since the Swedish Chef is one of my absolute favorites, I was somewhat disappointed, but seeing Cookie Monster from 1969 was pretty amazing.
The original Kermit is also on display; I'd seen him before, but if you haven't seen him, you really need to do so. The Muppets attracted quite a crowd, which gladdens my heart. Miss Piggy is still in the front display case with Carole Burnett's scrub woman costume and a dress belonging to Phyllis Diller, and she (Miss Piggy) generated a lot of interest from those in line making their way through security.
I took a photo of the incredibly long line to get into American History, but my phone and my email are not on speaking terms at present, so just imagine a line stretching from the door all the way to Constitution Avenue, and you have an idea of what the crowds are like.
Verdict: It's always a good idea to see a Muppet whenever you can.
Monday, January 2, 2017
The Uncomfortable History of the 50th State
When: through January 2, 2017
Today's the day, people! Head to NMAI and travel to Hawaii. Keep in mind, this is not a travelogue of sandy beaches and swaying palm trees, but a serious look at the history of Hawaii, which is far less beautiful then its scenery.
The United States conquered Hawaii and annexed it, actions for which President Clinton apologized in the 1990s - good for him, I say. The island's history is a cautionary tale of what happens to native people when big business runs a country. Spoiler alert: it's not good. The only laudatory thing that those who came to conquer did in Hawaii was to teach everyone to read. Their literacy rate was, at one time at least, as close to 100% as you can get.
The question one is left with at the end of the exhibit is: where does Hawaii go from here?
Verdict: Quite interesting overview of a part of American history of which I was heretofore ignorant.
Sunday, January 1, 2017
Waste No Time
When: through January 2, 2017
You've got one day, tomorrow, to see this show. I saw it a few weeks ago, but I've not been blogging recently, due to family obligations and the holidays. My New Year's resolution? Blog regularly no matter what!
This is worth seeing, if you're a fan of photography. It includes photography and videos from the National Gallery's collection and the recent additions from the Corcoran's collection. Long time rivals must now live together - perhaps a lesson in that for all of us?
There were several pieces I really liked in this large multi-room show, but my notes are scribbled, and it's been so long since I visited that I'm not sure exactly what I wrote. Sigh, yet another reason to blog more frequently.
The show is divided into five sections: Movement, Sequence, Narrative, Studio and Identity. It's a good way to show the pieces and make sense of them, as it gives you a a theme to focus on while you're seeing an almost endless number of photographs. One artist I was very happy to see again was Lalla Essaydi, a Moroccan born artist, who I'd seen previously at the Museum of African Art. Her photographs of women with Arabic script written on their skin are really thought-provoking.
Verdict: If you have a chance to see this tomorrow, do so.
Saturday, December 10, 2016
New Additions to the Dutch and Flemish Collection
When: through January 2, 2017
This is a nice little display - two rooms of Dutch and Flemish works, some as old as the 15th century. Amazing to see works from the 1400s, with the colors still vibrant.
There was a work in blue that reminded of things I've seen at the Freer - tiny people walking through a landscape. Just typing that sentence made me realize how much I miss the Freer...
Verdict: Probably not worth a trip all on its own, unless you're a serious fan of Dutch/Flemish art, but a nice add-on to a trip you're already making.
Saturday, November 19, 2016
Yinka Shonibare - Need I Say More?
When: through January 2, 2017
Imagine my delight when I discovered that Yinka Shonibare was among the African artists featured in this selection of contemporary video art. I was off to the Mall with a spring in my step, and that spring was only enhanced by the fact that the barriers are down, and you can walk easily from one side of the Mall to the other! Hurrah - no more walking all the way over to 12th street to get to the Sackler and its neighbors.
The Shonibare piece was "Un Ballo in Maschera," and I only wish I'd had time to watch it all the way through. The dancers are clad in his trademark wax cloth and their movements are much like those of birds. I wish I knew what that meant, as I'm sure it means something. Gorgeous colors in the costuming and lots to think about - typical Shonibare.
The other videos are interested as well; the first one in the show is of a woman walking on olive oil, which is strangely captivating. I was also intrigued by Theo Eshetu's kaleidoscope piece - so cool to look at, especially as you can see your own reflection in the mirrors.
My only complaint is that sometimes the sound bleeds over from piece to piece, but that's a small gripe.
Verdict: This show reminds me how much I like contemporary African art. Worth seeing.
Saturday, November 12, 2016
Learning How the Sausage Is Made
When: through January 2, 2017
How can I already be going to shows that will close in 2017? This year has sped by on gossamer wings.
This is a good sized show on the drawings that underpin the paintings from the time of Rembrandt, a golden age of painting - think the Netherlands in the 1600s. The drawings were the starting point for the finished artworks and allow art historians to gain insight into how the creative process proceeded.
What I found most interesting was that artists would keep drawings in a notebook and use them in various combinations to make a painting - rather like fitting together the pieces of a puzzle. Need a house? Flip through the notebook and find one that fits! Want to change the leg position of one of your subjects? Back to the notebook for a new posture!
There were several Hendrick Avercamp paintings on display - did I see some of his work in the "little ice age" show a few years ago? They looked very familiar. The best way I can describe them is as Currier & Ives for the 17th century Dutch. If you like winter scenes, heavy on the ice skating, this is your guy.
I also noticed a piece called "Sleeping Spaniel" by Frans Van Mieris the Elder - it looked a bit like a Cavalier.
Verdict: I liked this show and would recommend it, both for the art and for the "peek behind the curtain."
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