A New Favorite Artist

Where: Renwick Gallery

When: closing January 5, 2020

I feel as if I've seen Michael Sherrill's work before, probably at the Renwick, and I really like it.  It's colorful, and whimsical, and (somewhat) practical, and even when it's oddly shaped, it feels fun and accessible, sort of like the kind of objects a Dr. Seuss character would have in his house.

The first room of the show that I entered was full of teapots.  As a tea drinker, I'm always interested in seeing any display of tea accouterments, and these range from the lovely if mundane to the wild gold extravagance pictured here.

Just as the Ginny Ruffner show left me with a question, this exhibit did as well.  If the object in question is not functional, is it still craft?  Or is it then art?  Not that a functional craft can't be art, because it certainly can be, but if it has no function other than to exist, is it still a craft?  I feel as if the answer is no, but I'm quite willing to be persuaded otherwise.

The one quibble I have with this show, which overall I liked very much, is that it's set up oddly.  I entered directly from the Ruffner exhibit, and discovered later that this was the second room.  I walked through the whole display, and only then saw the first room at the very end.  Some signage directing me to the start would have been helpful.

Verdict: Go see this exhibit and then head to the Teaism close by for lunch or an afternoon snack!

Is Virtual Reality Art?

Where: Renwick Gallery

When: closing January 5, 2020

I've been running around to shows recently, trying to make up for the many days these past few months that I went to none.  I'm vowing to do better in 2020!

The Renwick has two exhibits now on their first floor that close very shortly; the Ginny Ruffner display of virtual reality sculptures is just off the entryway.  Basically, these are glass sculptures of logs, some with glass fungi.  When you look at specific spots on the logs with the provided iPads (or with an app on your own phone), animated plants emerge.

The idea is that this depicts a future world in which the nature we know has been destroyed, and this is a depiction of how it will re-emerge.  There are also pictures of botanical objects on the walls - I'm assuming these are also imaginings of future flora, but I'm not sure.

The question I kept asking myself is, "Where does art leave off and stunt begin?"  I realize I should have been contemplating the end of the natural world as I know it, and I do view that as a serious problem, but between the iPad not always working quite right, and dodging so many other people pointing at the same thing, I found it hard to keep my mind on the larger message.

Verdict: I appreciate the fact that this show uses new technology along with the traditional art of sculpture, but I'm not sure the execution always comes off.

Another Installment of the Renwick Invitational

Where: Renwick Gallery

When: closing May 5, 2019

I was delighted to see that the Renwick Invitational had returned - I only wish it were an annual event.  It's great to see what new artists are doing - how they are pushing the boundaries between art and craft.  As always, we have four artists, and I've included a photograph of each one, so this will be a bit more visual than the usual post.

Sharif Bey is a ceramicist who offers us piles of pots.  I liked his portable studio, which he uses as he goes about the rest of his day, allowing him to make art anywhere.  What looks like a jumble of pots on the floor is actually a representation of human heads, many of them crushed or broken, a commentary on man's inhumanity to man.

Tanya Aquiniga concentrates on community-based projects around the U.S.-Mexico border.  I got to stand underneath her work Palapa - the photo is the view from inside.  Her weaving is meant to represent the weaving of cultures at the border.

Stephanie Syjuco is the maker of the electric green dresses, she would have livened up the costumes for "Little Women," no doubt.  Her view is that there is a relationship between how we categorize objects and how we view people.  So she shakes objects up a bit.

And finally, Dustin Farnsworth works in wood, making portraits of the marginalized and disadvantaged.  His particular focus is the decay that the youth of America will have to contend with - failing infrastructure for example, and the weight this places on them.

Overall, I confess I found the show a bit bleak.  Doubtless, this is a reflection of the serious issues of our times, and it's all necessary.  I'm not criticizing the artists for their outlook, much of which I share.  But if you're looking for the knitted superhero costumes of Invitationals past (one of my favorite things ever), this is not that show.

Verdict: I recommend this exhibit, but don't go expecting whimsy.

So Now I'm an Expert on Burning Man

Where: Renwick Gallery

When: closing January 21, 2019

No, I've not seen all the shows closing in 2018 yet, but a friend of mine wanted to see the Burning Man show at the Renwick, so I saw this "out of order."  I've never been to Burning Man, nor really had any desire to go, but after seeing this show, I am certainly more curious about it.

The exhibit focuses on the art of Burning Man, and everyone who attends the festival is meant to be an artist of some sort.  People who only come to gawk and wear costumes are called "Sparkle Ponies" and not in a good way,

This is a very large show, taking up the entire top floor of the museum.  It's room after room of peculiar and fascinating works; the picture attached is of a mushroom-like piece that opens and shuts when a visitor stands in a particular spot.  It's odd, but fun.  The picture is of the view looking up into the piece.

The real capstone is the temple.  My friend suggested we save that for last, and I would make that recommendation to anyone who visits.  It's in the Grand Salon, so it's quite large.  Apparently, every year at Burning Man, there's a temple, and people come there and write tributes to people they have lost.  At the end of Burning Man, they burn the temple (and the Man).  People are writing tributes here as well; what they will do with this temple when the show ends in January, I do not know.

Verdict: Whether you know anything about Burning Man or not, this show is most definitely worth seeing.  Since the Renwick has re-opened, they've had one excellent exhibit after another, and I'm eager to see what they do next.

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.

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.

An Invitation I'm Happy to Accept

Where: Renwick Gallery

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.

The WONDER of it all

Where: Renwick Gallery

When: second floor through May 8, 2016; first floor through July 10, 2016

I'd been holding off on visiting this exhibit until a friend of mine from out of town came to DC.  I thought he'd enjoy this show, and he'd not been to the Renwick before.  I'm very glad he came when he did, as part of this show is closing tomorrow, so we got in just under the wire.

Smithsonian, why was this staggered closing not more prominently shown on your website?  Having enjoyed this show so much, I'm horrified to think I could have missed most of it.  You know I love and support you (by visiting, by blogging and by contributing financially), but when you make a mistake, I call you out on it.  Better info in future please!

So what was the show like?  It was WONDERful.  It takes up the entire museum space (which is not terribly large, but still, that's a big exhibit) - each installation gets its own room.  Each installation needs its own space because they are all HUGE.  You can walk around the pieces, for the most part, or are immersed in them - they are interactive in a way that paintings on a wall are not.

The work shown here was perhaps my favorite - string in the colors of the spectrum that looked like a prism.  It may not sound like much, but it was hypnotic to watch.  I was also very much taken with the piece on the ceiling of the Grand Salon, meant to represent the waves of the Japanese tsunami.  I don't think there were any wall notes suggesting that people lie on the floor and look up at it, but that's what people (of all ages) were doing.  And the bug room!  It reminded me of the "Day of the Dead" decorations I'd seen in a Mexican restaurant in Philadelphia last summer - and those are real bugs on the wall.

Note: unlike every other time I've been to the Renwick, this show is CROWDED.  If you added up every person I've seen in the museum the other times I've been there, it wouldn't be a tenth of the number of people there yesterday afternoon.  And all of them have phones.  Which they are using to take pictures of themselves standing next to the art.  Repeatedly.  More than once, I had to wait to enter a room because someone was taking photos.  I'm happy for the museum that it's getting so many visitors, but I confess, I'll also be happy to see a show there without so many other people.

Verdict: If you can possibly see it this weekend, do not miss it.

Thomas Day: Master Craftsman and Free Man of Color

Where Renwick Gallery

When: through July 28, 2013

I enjoy going over to the Renwick Gallery; it's in the neighborhood where my office used to be located, so it gives me an opportunity to see my old stomping ground.  It's in a lovely location, across Pennsylvania Avenue from the White House and next to Lafayette Park.  Add to that the cherry blossoms and warmer weather, and what's not to like?

The only fly in this ointment is that the Renwick will be closing in 2014 for renovations, so go see this very pleasant, quiet museum while you can!  The plan is to re-open in 2016, so after I go over to see the upcoming exhibit on their collection of contemporary baskets, it will be a while before I am able to return.  I may have to take a day off and see the permanent collection as well, since it will be closed for two years...

The current exhibit is on Thomas Day, an African-American craftsman, living as a free man in North Carolina in the 1800s, before the Civil War.  He came from a family of cabinet makers, and set himself up as a furniture maker and maker of architectural elements - the only known American to do so.  He lived in Milton, NC, and was able to duplicate the very expensive designs for sale in the large cities at a fraction of their cost.  He became very popular with the elites of the area, who hired him to help them restore the houses they had purchased in a neo-Classical style, as well as design and build furniture for them that would fit in with their decor.

He became so admired that when he married a free woman of color from Virginia, the people of Milton petitioned the North Carolina State Assembly to let her come to live in Milton.  They were welcomed into the Milton Presbyterian Church, and allowed to sit with the white congregants.  The slaves that Day owned (African-Americans also owned slaves, although certainly not in the numbers that white people did) were encouraged to join the church as well, sitting in the segregated section.  States passed laws placing severe restrictions on free persons of color (which made me think they may have been free, but they didn't have much in the way of freedom), but local communities often ignored them.  The town of Milton gave great support to Day and his business.

Day's style incorporates a scroll motif, visible in the picture above.  This was not uncommon among designers of the period, but his work became so distinctive that it was called "Day's Exuberant Style."  Frankly, it's a bit too exuberant for my taste, which runs strongly towards the Arts and Crafts style of the early 1900s, but the furniture is very well-made and, if you like that kind of thing, beautiful.  Two pieces which I did like (note they are not typical of his work) were a mirror he made for North Carolina Governor David S. Reid and a blanket chest in the "Neat and Plain" style.  Neither has much in the way of ornament, so there's nothing to distract from the craftsmanship.  In 1853, Day said, "It is not pleasant to have any thing in the way of furniture like an eyesore."  Hard to disagree with that!

A room at the end of the exhibit contains contemporary photographs of the houses in which he designed architectural elements - lots of scrollwork there too.

Verdict: Well worth a trip over to the Farragut Square area of town, an interesting show and an opportunity to see the Renwick before it closes.

40 under 40: Craft Futures

Where: Renwick Gallery

When: through February 3, 2013

By way of celebrating the Renwick's 40th anniversary, this exhibit celebrates 40 craft artists under the age of 40; it is a look at the future of craft.  The commentary on the exhibit indicates that the theme of the artists is using craft to make a better world.  I'm not sure I picked up that idea from every piece I saw, but I really enjoyed this show, so I'm not going to quibble.

In the first room is an item I can only describe as looking like the love child of a space pod and an upholstered chair.  It's called "Mementos of a Doomed Construct"; the artist is Stephanie Liner.  I found the piece a bit startling; I walked up to it and found there was a mannequin inside, which I was not expecting.  There's also a picture on the wall, placed so that you can see it through the window in the "pod."  It seems as if, all of a sudden, you're surrounded by people.

Other pieces I enjoyed were:

• "Impressions" by Sebastian Martorana - it looks like a pillow, but is made of marble
• "E-Waste Project" by Christy Oates - beautiful marquetry
• "Fibers and Civilization" by Sabrina Gschwandtner - quilts made from films about fiber de-accessioned from the Fashion Institute of Technology library
• "Knitting is for Pus****" by Olek - an entire room covered in knitted camouflage

I can't finish this post without commenting on the "Enlightenment Room" by Nick Dong.  It's a room; you enter one person at a time.  When you close the door, you can barely see, but take a seat on the "throne" at the back.  I won't describe what happens next, so as not to spoil the experience for anyone planning to attend the show, but it's odd.  I think the Renwick could have done a better job at telling you to go into the room, and they could have set up some sort of indicator to tell you that someone else is in the room.  Also, there's really nothing that alerts you to the fact that there's no "end" to the experience.  It ends when you stand up.  I'm all for crazy, over-the-top art, but I can't say I feel more enlightened...

Verdict:  Well worth the trip over to the White House area.  I always enjoy the shows at the Renwick, and will add this one to my list of fun exhibits.  Plus, you can see the work progressing on the grandstands for the Inaugural parade on your trip.

"Something of Splendor": Decorative Arts from the White House

Where: Renwick Gallery

When: through May 6, 2012

I wasn't sure what to expect when I went to see this show, and I wasn't relishing the long walk over to the Renwick and back (which eats into the time I have for exhibit viewing), but in the event, it was a wonderful show and a wonderful day for a walk, so it couldn't have been a better trip.  Washington, DC is having an early spring - the cherry blossom trees are flowering as I type, a good two weeks earlier than normal.  The White House area was decked with Union Jacks and American flags to greet Prime Minister Cameron who was paying a visit, making for a festival atmosphere at Lafayette Park.

The show itself is great - lots of furniture, serving pieces and other decorative items from the White House.  It's quite interesting to see how tastes have changed in the last 200+ years.  The show celebrates the 50th anniversary of the White House Historical Association, and many of the pieces have never been seen outside of the White House before.

I learned that the Theodore Roosevelt administration saw an extensive renovation of the White House, giving the reception rooms their current look.  The highlight of the show for me was seeing one of the Gustav Stickley bookcases that Edith Roosevelt bought to display some of the White House china, the precursor to the China Room.  I love Stickley furniture, and I don't think I've ever seen a real original Stickley piece before.

Jackie Kennedy initiated an ongoing museum program to preserve the White House's furnishings and decorations, so we have her to thank for this collection.  One of the most interesting items on display is a small box, lined with wallpaper from the Madison administration, picked by Dolley Madison herself.  This is one of the few things left from the original White House, which was burned by the British during the War of 1812.

I very much liked the Lincoln china pattern, several pieces of which were on display.  The accent color is a reddish-purple, new at the time.  It makes a nice change from the seemingly endless blue pieces.  Another interesting piece is a coverlet for the bed in the Lincoln bedroom, made by Grace Coolidge.  Her hope is that future First Ladies would each make something for the house, but to date, she is the only person to have done so.  There is a piece of furniture made at Val-Kill, the factory on Franklin Roosevelt's estate, Hyde Park.  Eleanor Roosevelt brought the piece to the White House.

A fun fact: the Benjamin Harrisons were afraid of electric light - the servants had to turn the lights on and off for them.  That's what I love about going to these exhibits - you learn so many odd little things.

Verdict: This is a show well worth the time to see.  Fun, interesting, educational - something for everyone.

History in the Making: Renwick Craft Invitational 2011

Where: Renwick Gallery

When: through July 31, 2011

Every other year, the Renwick displays the works of several artists that it feels are deserving of wider recognition. I went to see the 2009 show, and was delighted with the artist who created knitted superhero costumes. The video of him, wearing one of his creations, in a rocking chair, knitting away, as the 1812 overture played in the background was the highlight of the exhibit for me.

This year's offerings are not so "over the top" as the superhero costumes, which is unfortunate, but are still quite good. Ubaldo Vitali is a silversmith, and I was much taken with his 25th Anniversary Tea and Coffee Service, which uses lovely red accents to set off the silver. There is an Art Deco feel to these pieces which I liked very much.

Cliff Lee is a surgeon turned potter, whose work features beautiful, colorful glazes; my favorites were the oxblood, the chun blue and the imperial yellow.

Judith Schaechter makes stained glass windows with macabre themes. If one of the artists was really wild, it would be her. She went to the Museum of Fine Arts in Boston as a small child, and sought out the most gruesome paintings to examine. I liked her work very much, but I'm not certain I'd really want it in my house...

Finally, Matthais Pliessing makes furniture by steam bending wood. The shapes are wonderful, but as one is not allowed to sit on the chairs or sofas, I'm not sure how comfortable it is.

At the end, there's a small gallery where you can actually touch the art - I always love this; you get a real sense of the pieces if you can put your hands on them.

Verdict: Go see this show. It's always great to see artists that are not yet big stars, and the Renwick itself is a very nice, uncrowded destination.

A Revolution in Wood: The Bresler Collection

Where: Renwick Gallery

When: until January 30, 2011

I went to see this exhibit along with the "Art of Gaman" show, as they're both at the Renwick. The shows are small enough that they can be viewed in one lunch time, provided you move pretty quickly through them both. If you want to linger, see them one at a time. I would recommend seeing this show on a Tuesday, if you can, as they have a lathe demonstration going on from 12-1 through December. If you happen to be in town on a weekend, they have another demo going on the second Saturday of the month, from 2-4.

These objects are beautiful, especially if you like woodwork. All were made by turning the wood on a lathe. This brought back memories for me of my grandfather, father and uncle talking about their woodworking when I was a child. I didn't know what a lathe was, but I gathered it was important as it seemed to feature in so many of their conversations.

This exhibit includes not only functional pieces (bowls, vases) but also art objects. Bud Latven's piece, Integration, is made of maple and African blackwood. You don't really expect wood to make a statement, but this piece does.

Daniel Ellsworth's Solstice Series is a set of painted wood pieces - a sort of "Dylan Goes Electric" moment that is not without its controversy.

Finally, Edward Moulthrop's Donut Bowl I liked very much. There was something about the rounded shape that really appealed to me. He had several other similarly shaped pieces I liked as well.

Verdict: This show features many stunning wooden pieces. If you like wood as art, don't miss this exhibit.

The Art of Gaman: Arts and Crafts from the Japanese American Internment Camps, 1942-1946

Where: Renwick Gallery

When: until January 30, 2011

This exhibit features art created by persons of Japanese descent living in internment camps during World War II. It is truly incredible that people living in these conditions could create any art, let alone such beautiful pieces. Some of the items are practical things, as people could take almost nothing with them, and had very little in the way of furniture.

Others are simply works of art, including Akira Oye's bear carving. It's stunning, yet he never carved again after leaving the camps. Chiura Obuta did a series of internment sketches. They start out in an impressionistic style, then become more realistic, as they depict scenes in the camp. The sketch of a deaf man shot at a fence (the guards warned him away, but he couldn't hear them) was haunting. A painting by George Matsusaburo Hiti, Topaz in Winter, reminded me of the "snow effect" used by the impressionists.

There were classes organized in the camps, showing how much the internees valued education, no matter the circumstances. Those who were artists before coming to the camps, or who picked up skills while there, taught others how to make things, whether for daily use or for decoration. Also amazing is the way the internees used whatever materials were at hand to create their art.

Edward Jitsue Kurushima made a toy train that looks like a model you could buy in a store, and he made it with scrap metal. On display were many bird carvings that were used as pins, that were made from scrap lumber and bits of wire.

Verdict: This show isn't always easy to view, as it is a vivid reminder of the injustice done to these people, but does show how resilient people can be. It reminds us that art can exist in even the most unlikely circumstances. This show is well worth a visit.