Heaven and Earth: Art of Byzantium from Greek Collections

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

When: through March 2, 2014

There's lots of heaven and not much earth on display in this exhibit at the National Gallery.  If you like religious iconography, this is the show for you!  If you don't, you may want to give this a miss, or spend your time in just a couple of the rooms.  Personally, I grew weary of the religious art after a short time and was happy to move into a part of the show that dealt with jewelry and coins.  This is the Gallery's first show of Byzantine art, and I'm always happy to be part of the first of something or to see works that have not been on display in the US before, so that was satisfying.  Overall though, this just wasn't to my taste.

The Byzantine Empire began in 330, when Constantine moved the capital of the Roman Empire from Rome to the site of the ancient city of Byzantium.  The city was renamed Constantinople and is now the modern city of Istanbul.  The Byzantine Empire lasted for over 1,000 years before it was sacked by the Turks in 1453.  This gives a wide scope for artistic expression, as times and tastes will undergo numerous changes in a millennium.  Interestingly enough, the art doesn't really change all that much.  Once Christianity displaced paganism, there's a certain sameness to the works, until the end of the Empire, when gothic influences can be seen to appear.

The first room has several examples of pagan statues, sadly defaced by Christians.  If you like noses, you'll be sorely disappointed.  Why knock them off, one wonders?  Is it because it's the easiest way to destroy a statue?  They were also moved by religious fervor to carve crosses into the foreheads of these representations of the ancient gods.  I was appalled by the senseless destruction, much like when the Taliban blew up those Buddhist statues.  Anyone who destroys art is a poor excuse for a human being.

Once the Christians had firm control of Byzantium, a new movement sprang up called Iconoclasm.  This is a belief that graven images are evil and must be destroyed.  Obviously, you don't have a great deal of artwork from this period.  The original Iconoclasts (this must be where the word comes from?) seem to have a lot in common with Oliver Cromwell, who also had a problem with art almost a thousand years later.  A pox on both their houses, I say! Cooler heads eventually prevailed, and the icons returned.

Although I lost interest in all of the religious paintings after a while, I did enjoy the mosaics on display.  I like tilework generally, and this was quite nice, although not in the best of shape after so many years.

The section entitled "The Pleasures of Life" held my interest most strongly - lots of jewelry, not so many paintings of a dying Christ.

Verdict: Overall, not a show I'd go to see again, although I did like seeing the early, pre-Christian work.  It was quite crowded when I went, so be prepared to share your experience with many others.

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. 

Farewell to the Renwick

I said goodbye to the Renwick Gallery today.  Not forever, I'm happy to say, but for about three years, which is bad enough.  They're doing some major renovations (which I have no doubt are necessary), and that means the building will be closed to visitors, beginning in December and continuing until 2016.  I'm just hoping the construction stays on schedule, and I won't be waiting even longer to return to one of my favorite Smithsonian museums.

If you've not been to the Renwick, run right out and see it before early December when it closes.  It's off the beaten track, as far as museums go.  It's across Pennsylvania Avenue from the White House, next to Blair House.  It's part of the Smithsonian American Art Museum, and focuses on American craft.  Currently, there are two rotating exhibit spaces on the main floor and the permanent collection (which closed on October 1, before I could get over there - another reason to detest the government shutdown) on the upper floor.

The permanent collection has already been removed.  I don't know whether they'll try to find room for some or all of the pieces elsewhere - maybe at the American Art Museum? - or if they'll simply put the items in storage.  Maybe things will rotate between storage and display?  Maybe they'll put some things in the Castle?  If only the Arts and Industries Building was open, they could set up shop there.  Oh well, they'll re-open in time, no matter what they do with their collection now.  Here's what I saw today before the doors close for the present:

Grand Salon Installation: Paintings from the Smithsonian American Art Museum

When: through November 11, 2013

If you want to have a look at the Salon arrangement of paintings, hurry over, as it closes on Monday.  As I mentioned in one of my recent posts, I just don't like this style of presentation.  Today's visit did nothing to change my mind.  I find that I can't really concentrate on any one painting, as I'm being constantly distracted by something else.  I tried to determine why the paintings had been hung as they had, but, although some of the pieces did seem to go together, I found myself shaking my head in confusion a good bit.

It's also hard to see the paintings.  I was craning my neck trying to see the things hung at the top, which does not make for a comfortable way to pass the time.  The room itself is lovely, and a great space for this type of display; it's just not to my taste.

I was happy to see several pieces by Romaine Brooks.  One of them, her "Self Portrait" had been featured in the National Portrait Gallery's Hide/Seek.  I recognized it immediately (which is always an ego boost), and was happy to see other of her works.  She has a definite style to her work, so once you've picked up on it, you can see others quite quickly.  It was nice to see the piece again, rather like running into an old friend unexpectedly.

Verdict: If you like the salon style of display, don't miss this opportunity to see what I suppose is an excellent example of it.

Infinite Place: The Ceramic Art of Wayne Higby

When: through December 8, 2013

I was unfamiliar with the work of Wayne Higby before I saw this exhibit, and I'm glad I made time to have a look.  His stuff is very interesting and unlike anything else I've seen.  To say his ceramics are three-dimensional doesn't really do them justice.  They are commonly interpreted as 3D landscapes, and I see what the people who describe his work this way mean.  It's as if a landscape painting has leapt off the page and emerged as an topographical object.  It's hard to describe, but very neat to see.  Higby doesn't care for this description, as he finds it too limiting.  He likes to say that the viewer can imagine an infinite expanse in his ceramics; that they are limited only by their own imaginations.  I confess, the 3D landscape description is the best I can come up with!

Higby has also done work in tiles.  His pieces tend to be major installations in public buildings and corporate headquarters; no small scale stuff here.  Obviously, only a sampling of his work is on display, but between that and the photographs of the full works, you get a sense of what he's doing.  I'd very much like to see one of his full works; they looked very impressive.

Although Higby is from Colorado and much of his work has a decidedly Western feel to it, one of his series of bowls was inspired by his trip to the Maine coast.  It's always nice to see something with a Maine connection (I've spent many happy days in the state, visiting friends), and these were very fine pieces.

Verdict: Don't miss this show if you like ceramics; Higby's work is fantastic.

A Measure of Earth: The Cole-Ware Collection of American Baskets

When: through December 8, 2013

I ended my visit to the Renwick with a look at this lovely show on American baskets.  Steven Cole and Martha Ware have given the Renwick a wonderful collection, all of which are functional, made from natural materials harvested by the basket makers.  People making baskets this way live a life that is far removed from urban or suburban America.  Their lives are lived in rural communities, where they can find their raw materials easily, or else they are spent seeking out raw materials.  In either case, their lives are a journey of collection and creation.

Theirs is also a dying art, as most people purchase cheap plastic baskets when they need them.  Even in the heyday of basket making, it never paid well, and when people no longer had to make baskets, they stopped and turned to more lucrative pursuits.  The only exception to this rule is the seagrass baskets in South Carolina, where the craft is passed down from one generation to another within families, and the tourists are happy to purchase them.  I particularly liked the baskets made by Darryl and Karen Arawjo (not sure if they're a married couple, or brother and sister or what).  Also, Jeffrey Gale's baskets reminded my very strongly of baskets I've seen at the local craft fair year after year.

The other great thing about this exhibit is the "hands on gallery."  You can actually touch the baskets, which is a great way to appreciate and understand the craftsmanship.  I only wish more museums would try to incorporate more things you can touch.

Verdict: A great show, especially if you like basketry.

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!