Aerial I, Production still from Shadow Sites II, Jananne al-Ani (Iraq, b. 1966), 2011, Single-channel digital video, Courtesy of the artist
Coming soon in August 2012, Shadow Sites: Recent Work by Jananne al-Ani at the Sackler Gallery. Al-Ani presents a new body of video works, inspired by archival archaeological and aerial photographs of the Middle Eastern landscape. Mark it on your calendars!
Barbara Kruger, Untitled (No), from the Untitled Portfolio, 1985, photo-offset lithograph and serigraph on paper, Smithsonian American Art Museum, Museum purchase.
Barbara Kruger, Untitled (Longer), from the Untitled Portfolio, 1985, photo-offset lithograph and serigraph on paper, Smithsonian American Art Museum, Museum purchase.
Barbara Kruger, Untitled (Heard) from the Untitled Portfolio, 1985, photo-offset lithograph and serigraph on paper, Smithsonian American Art Museum, Museum purchase.
For those of you familiar with artist Barbara Kruger, you may already know the powerful effect of the large scale, bold language and conflicting messages consistent in her works. The past exhibit, Multiplicity at The Smithsonian American Art Museum featured Kruger’s piece Untitled, (We will no longer be seen and not heard) among other contemporary prints. In this work, Kruger took the text “We will no longer be seen and not heard” and composes 9 individual prints which come together as one visually stimulating piece. Kruger creates an unavoidable, overwhelming presence in her works by enlarging images and text as well as addressing broader issues of democracy, gender, power and belief.
If you missed Kruger’s piece in the Multiplicity exhibit, have no fear, for another loud, large and provoking installation of hers will soon be on display at The Hirshhorn Museum and Sculpture Garden. Coming to the museum in summer 2012, Barbara Kruger: Belief + Doubt will take over the entire space of the Hirshorn’s lower level lobby. Literally, the entire space. This site-specific installation will cover the walls, floors, escalator sides and bookstore, using text printed white vinyl letters against fields of black and red. So, there’s no escaping the mass messages of this work. The title of the installation, “Belief + Doubt” came from Kruger’s interest of introducing thoughts of doubt to the public. These doubts come in form of big bold open-ended questions like “WHO IS BEYOND THE LAW? WHO IS FREE TO CHOOSE? WHO SPEAKS? WHO IS SILENT?” Kruger is exploring several themes that affect a whole range of viewers, from the individual, the museum, and representatively, the country. Kruger is blatantly suggesting that these questions should not be ignored and from the looks of the new installation, it seems that Kruger has successfully captured our attention.
Want to see more? Check out past exhibits of Kruger’s:
http://americanart.si.edu/exhibitions/online/multiplicity
http://whitney.org/WhitneyOnSite/Kruger
http://spruethmagers.net/exhibitions/248@@overview
http://www.moca.org/pc/viewArtWork.php?id=35
http://hammer.ucla.edu/newsblogs/?tag=barbara-kruger
Enjoy!
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~Margaret McClung
Richard Diebenkorn, Man and Woman in a Large Room, 1957, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of the Joseph H. Hirshhorn Foundation, 1966.
Not that I have a particular favorite among the Bay Area Figurative Artists, but I do think the vast range of works by Richard Diebenkorn are worth discussing. Diebenkorn, like many artists of the time, went back and forth between subjects, from figure painting in the mid 1950s to abstraction paintings of landscapes in 1967. Throughout his career, Diebenkorn always stayed true to his belief of rendering representational forms and traditional values like beauty, harmony and order. Diebenkorn often cited Henri Matisse as inspiration, mimicking his lush color, use of pattern, window panes, and interest in the contrast of indoor with outdoor light.
In his figurative works, Diebenkorn liked to paint figures in an austere setting, with defined geometric shapes and flat compositions. Similar in style to Bay Area Artists, Elmer Bischoff and David Park, Diebenkorn carried on this new approach to figurative painting. Then, Diebenkorn switched his focus to landscapes, where the same elements of design were utilized but expanded. He painted in flat plains of color, drawing interest in horizontal-vertical grids, architecture and nature.
“I want a painting to be difficult to do. The more obstacles, obstructions, problems, the better” ~ Richard Diebenkorn
Richard Diebenkorn, Ocean Park #111, 1978, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Museum purchase, 1979.
Richard Diebenkorn, Ocean Park, No. 6, 1968, oil on canvas, Smithsonian American Art Museum, Gift of Arthur J. Levin in memory of his beloved wife Edith.
Diebenkorn dedicated much of his career to painting these abstract expressionist landscapes. After he moved to Ocean Park, Southern California in 1966, he began his large series, “Ocean Park”. This series spanned two decades of the artist’s life, and included 145 paintings and 500 works on paper. “Ocean Park” illustrates the connection between place and painting, but for Diebenkorn it was more about discovering a new geometry and palette in his work, thus giving the faintest real- world references.
I hope you have the chance to see at least one of Diebenkorn’s paintings. When viewed up close, you can make out the activity of the brush, translucency and texture of the paint. You really gain a sense of Diebenkorn’s energy and passion for painting. Here are some Museums to look into:
For those of you that may have the opportunity to venture to the west coast, the Orange County Museum of Art currently presents, Richard Diebenkorn: The Ocean Park Series (through May 27, 2012). The show features approx. 80 works, consisting of paintings, prints, drawings, and collages. Good news! The traveling exhibit will make its way to The Corcoran Gallery of Art , here in DC on June 30- Sept 23, 2012. Mark it on your calendars!
You can also visit the Smithsonian American Art Museum and the Hirshhorn Museum and Sculpture Garden to see some of Diebenkorn’s works in the museums’ permanent collection. Explore the collections online:
SAAM- http://americanart.si.edu/collections/search/
HMSG- http://www.hirshhorn.si.edu/collection/home/#collection=collection-search
Are you a fan of Diebenkorn’s works or would like to learn more? Please let us know by leaving your comments!
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~Margaret McClung
Fragments, Ai Weiwei (China, b. 1957) 2005, Iron wood (tieli), tables, chairs, parts of beams and pillars from dismantled temples of the Qing Dynasty (1644-1911), Courtesy of the Sigg Collection
Several works by prolific Chinese artist Ai Weiwei are filling up space inside and outside of Smithsonian museums. As I mentioned in a previous post, Weiwei’s outdoor sculpture, Circle of Animals/Zodiac Heads is currently situated around the fountain in the central plaza of the Hirshhorn Museum and Sculpture Garden. In addition to this piece, two more exhibits of Weiwei’s works will be presented. On view at the Arthur M. Sackler Gallery is Ai Weiwei’s “Fragments” and another exhibit coming in October is “Ai Weiwei: According to What?” which will be on view at the Hirshhorn Museum.
On view in the U.S. for the first time, “Fragments”, part of the Sackler Gallery’s contemporary series, “Perspectives” explores the role of past tradition in the middle of the fast pace reality of modern day China. Just as it appears, “Fragments”, is constructed of disassembled pieces of iron wood pillars and beams, but what you wouldn’t know from first glance is that the pieces of wood have been salvaged from several dismantled Qing dynasty temples. Weiwei created this large-scale, chaotic complex with the intention to bridge the relationship of the ancient past with the present. In the literal sense, Weiwei successfully accomplishes this by using ancient artifacts in his contemporary structure. Another aspect is Weiwei’s deliberate positioning of poles, which illustrates the borders of the map of china. Unfortunately, I wasn’t able to capture this, since the map of China is revealed from an aerial view.
Detail, Fragments, Ai Weiwei (China, b. 1957) 2005, Iron wood (tieli), tables, chairs, parts of beams and pillars from dismantled temples of the Qing Dynasty (1644-1911), Courtesy of the Sigg Collection, Installations view at the Arthur M. Sackler Gallery, 2012, Photo: Hutomo Wicaksono
Don’t pass up the chance to see this larger than life sculpture for yourself. Opened to the public till April 7, 2013 “Fragments” is on view on the first floor of The Sackler and cannot be missed! Soon, we will be presented with the opportunity to view all three exhibits of Weiwei’s simultaneously. I believe that this will be a very valuable experience. As viewers we can make similar connections between his different installations, while gaining new knowledge. I hope you are looking forward to seeing all three shows as much as I am!
In relation to Ai Weiwei’s exhibits, the Smithsonian Residents Program will feature the seminar, The Artist as Dissident: China's Ai Weiwei on Thursday, June 7 at 6:45pm.
Enjoy!
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~Margaret McClung
Bradley McCallum and Jacqueline Tarry, "Amelia Boynton" 2008. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Museum purchase through the contributions of members of the Contemporary Acquisitions Council and the Joseph H. Hirshhorn Purchase Fund, 2009.
As May quickly approaches, we say goodbye to those exhibits coming to an end and welcome the new ones. Be sure to make some time in your schedule to visit these exhibits before it's too late!
National Museum of the American Indian:
Vochol: Huichol Art on Wheels: Eight Huichol artists converted a 1990 Volkswagen Beetle into a canvas adorned with approx. 2,277,000 glass seed beads. The automobile will be leaving the museum on May 6, 2012, making its way to Denver, Colorado and will be displayed at the Denver International Airport for all to see.
Behind the Scenes: The Real Story of Quileute Wolves investigates the rich history of the original Quileute people (yes, as mentioned in the Twilight Saga films). The exhibit includes hand crafted artifacts, including replicas as seen in the movies, as well as a 12 minute video on the history and traditions of the culture. The show will be closing on May 9, 2012.
Looks like May 13, 2012 is the last day for many exhibits at the Hirshhorn Museum and Sculpture Garden:
Doug Aitken: SONG 1 is a site-specific installation that will be projected on the exterior of the donut shaped building. The 35 minute video loops continuously, beginning on evenings from sunset to midnight.
Suprasensorial: Experiments in Light, Color and Space is a hands on, interactive exhibit that features works of light and audio visual installations by five Latin American artists.
Dark Matters: Selections from the Collection takes a closer look at works in the museum’s permanent collection which indicate several symbols and representations of darkness. The exhibit includes painting, sculpture, and photography.
Black Box: Ali Kazma presents O.K., 2010, a study of a notary stamping hundreds of documents at a rash and excessive speed. Kazma is interested in the unique intricacies of skilled craftsmanship and hand labor compared to the new advancements of mass manufacturing.
National Archives:
Memories Arrested in Space: a centennial tribute to Jackson Pollock will be on view at the Smithsonian’s Archives of American Art till May 15, 2012. The exhibit recognizes and honors the life and art career of American icon, Jackson Pollock through the display of documents donated by his wife, the painter Lee Krasner , his brother Charles, and friends and associates.
See these shows while they last!
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~Margaret McClung
Ai Weiwei: Circle of Animals/ Zodiac Heads at the Hirshhorn Museum and Sculpture Garden. Photo by Margaret McClung
Now, reaching its 7th city, the monumental outdoor sculpture, Circle of Animals/ Zodiac Heads by contemporary Chinese artist Ai Weiwei is on view at The Hirshhorn Museum and Sculpture Garden (situated around the fountain in the central plaza). Each bronze sculpture, representing the 12 animals of the Chinese Zodiac stands nearly 10 ft tall, fiercely towering over the viewer. The heads of these creatures have been re-envisioned by Weiwei to be depictions of the 18th century Qing dynasty zodiac animal heads, which once functioned as a water clock- fountain. The heads are now displayed in a similar fashion around the Hirshhorn’s fountain, arranged on a North, South, East, and West axis ( also in order to year of birth). Weiwei draws attention to questions of identity and his concern with distinguishing “fake and real, true value, and aesthetics”.
This year’s animal is the year of dragon (also my zodiac sign!). The dragon is the only mythological creature featured in the Chinese zodiac sign, the 11 other real-world animals include the snake, horse, ram, monkey, rooster, dog, pig, rat, ox, tiger and rabbit.
Photo by Margaret McClung
Plan a visit soon to see the sculpture, which will be on view till February 24, 2013. In the meantime you can enjoy this video where Ai Weiwei speaks on his inspiration behind Circle of Animals/ Zodiac Heads:
http://www.zodiacheads.com/about_exhibit.html
Something to look forward to:
In accordance with current and upcoming exhibits of Ai Weiwei’s works, the Smithsonian Residents Program will feature the seminar, The Artist as Dissident: China's Ai Weiwei. Taking place on Thursday, June 7 at 6:45 pm, the event will include a detailed discussion on the themes behind the artist’s works.
Enjoy!
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~Margaret McClung
The email came last Monday afternoon: Artomatic registration was open! The collective excitement and eagerness to register of so many artists was enough to successfully crash the server for more than an entire day. With 350,000 square feet of space, there’s room for nearly everyone. And, with registration still open, there’s space for everyone. Since many of my friends are first-timers and a little unsure of what to do and how to approach it, so I decided to share some of my experience.
This will be my fifth Artomatic and I’m looking forward to the part where I get to see new work and all my friends, meet new ones, and reconnect with artists I haven’t seen since the last Artomatic in 2008. This is usually when the stress would start, however, I’m taking lessons from the past events to make a list of things to do, things to consider, and ideas for making this one the best yet. And, most importantly, I’m not taking it too seriously.
Artomatic, like other unjuried open shows, is a great opportunity to debut new work or explore experimental work since the show each artist produces is entirely their own. It is also a lesson is self-promotion, marketing, design, and networking, all of which can be difficult for less experienced artists as everyone wants to take this wonderful opportunity and turn it into the best effort they can possibly produce, myself included.
My first participation in 2004 was in a very old building and I had no concept of Artomatic other than that it was a space where I could show my art. Never having been to any of the previous shows, my understanding of the area was about equal to my being able to perform brain surgery. On myself. While I knew that we could paint our walls and install lighting, I did not understand how important it was - to make this MY space and to differentiate myself from the other artists around me. During installation, I did see artists painting and hanging lights and doing other things to create a type of artist community, but I did not do any of this myself (and, I didn’t know anyone). Honestly, I think I thought that it was a little silly to be doing all this work to a wall that was only going to be there for about 4-5 weeks.
How unbelievably wrong I was. My little display was so embarrassing to me that I didn’t even take a picture of it. Not only did I learn a very important lesson in presentation, I learned an even more valuable lesson in what it takes to actually pull off a great solo show. Every aspect of my exhibit is up to me, alone. There is no one else to help me create this space for me. So, I absorbed the work that other artists spent to create their spaces and make them different and unique, their marketing materials, and their connections with the artists with whom they shared the room or hallway or wall, or even others located elsewhere in the building.
I took all of this information and tried to make my space at the next Artomatic, in Crystal City in 2007, a space I could truly be happy to show off. While there were things I did not do (lighting) and did not plan well enough (business cards and other artist materials), I was happy with my presentation. I was able to connect with my roommate and make opening night more fun and provide a sitting area and other things that visitors could use to improve their experience.
Artomatic 2007 in Crystal City, VA. "Angela collapsed in a sea of art during installation, and I was there to capture it." Photograph by Erin Antognoli.
In 2008 and 2009, the buldings were brand new with rough, open floors without walls or fixtures. Plywood panels were constructed on each floor and provided the structure on which each artist’s blank canvas was transformed. I painted, installed lights, and coordinated with the artists around me for events.
One of the most important things I have walked away with was time spent with friends and fellow artists and connections that were made during both of the Artomatic shows I've participated in. This is my opportunity to show my work. The effort that I, alone, put forth determines its success - I am my own marketing manager and advertising agency, and you are yours.
Communicate. One thing to consider when designing your space is to not take it too seriously. Showing your work is the most important aspect and interacting with visitors who view your space comes in a very close second. Provide a means to communicate so they can learn more about you, your work, leave feedback, and increase your network, or simply to say hello. A guest book will help make this possible. In the past, I've used a small, inexpensive table for the guest book and pen (both were secured to the table with sturdy string) and a holder for business cards (which will need to be refilled fairly regularly throughout the show). Use social networking sites like Twitter and Facebook to let your fans know when you're there and where your work is located. And, don't forget to invite them.
It may sound obvious, but put your name on the wall! Freehand it in paint, use a stencil, vinyl lettering - it doesn't really matter - just make it easy for people to see your name. I've had great success with vinyl letters that are cheap and easy to apply.
Business cards do not have to be expensive or elaborate, or even traditional business cards. In many cases, I have picked up unique, hand-crafted cards made from a variety of materials including textured papers, postcards, and even photographs. Anything that will display your name and contact information will work.
Coordinate with those around you for opening night, meet the artist night, and other events. Plan snacks and other things that will pull the area together, create community, invite visitors in who will hopefully stick around for awhile. Be prepared to talk about your work and yourself as this will help them relate to you and firm their interest (and, a place in their memory). Although this may sound intimidating, it is a very important skill to learn. If you are part of a group of artists, consider displaying a symbol or other type of marking on your space to show community and perhaps a listing of others in the group with their locations (if all members of a group does this, it could really increase traffic to your spaces).
Finally, join the community. This has been the most rewarding aspect of Artomatic for me and I really do look forward to seeing everyone and meeting new friends. Are you participating?
-Angela
Pablo Picasso, Pierrot and Harlequin, Juan-les-Pins, 1920 pen and black ink with gouache on cream paper sheet (folded in half): 27.3x21.3cm (10 ¾ x 8 3/8 in.) National Gallery of Art, Washington, Gift of Mrs. Gilbert W. Chapman, 1981
Today, when we hear ‘Pablo Picasso’, we automatically recognize and register the name of the creative mastermind behind the Cubist movement. Before creating his more widely known paintings and sculptures, Picasso like any artist, started with a diverse body of original work that developed later in his life. Currently on view at The National Gallery of Art, Picasso's Drawings, 1890-1921: Reinventing Tradition presents more than sixty drawings, spanning the first thirty years of the artist’s career. Picasso explored every technique from liner lines to geometric abstract designs, and the addition of color. Many of the works in the show (done in pencil, ink, watercolor, gouache, pastel, and chalk) are considered to be preparatory studies leading to complex compositions in oil and independent works in pastel, watercolor and gouache.
By observing Picasso’s various techniques and style, you can begin to see the close relation and strong influence the artist had to specific periods and artists. During his first years of study, Picasso learned the conventions of classical draftsmanship, where he observed the Art of Antiquity, the Italian Renaissance, and Baroque periods. During 1909-1914, Picasso worked closely in collaboration with the artist, Georges Braque. Braque is another leading artist among the Cubist movement, who similarly experimented with loosening of linear perspective and distorted views of figures and everyday objects. The show illustrates Picasso’s ability to break through tradition and expand his skills and talents in different mediums. The show is on display at the West Building on the ground floor and will be on view till May 6, 2012.
Pablo Picasso, The Death of Harlequin, Paris, end 1905/ beginning 1906 gouache over charcoal on cardboard 68.5 x 95.7 cm (26 7/8 x 37 5/8 in.) National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon, 1996
Pablo Picasso, Seated Nude and Standing Nude, Paris, autumn 1906 charcoal on Ingres paper 63.7 x 48 cm (25 1/8 x 18 7/8 in.) 90.2 x 75.6 cm (35 ½ x 29 ¾ in.) Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950
You can check out other works by Picasso, on view at The National Gallery (in the Permanent Collection), Hirshhorn Museum and Sculpture Garden and The Phillips Collection.
Take a look at Picasso’s exquisite drawings for yourself and share your thoughts with us!
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~Margaret McClung
Thirty Six Views of Mount Fuji: South Wind, Clear Day By Katsushika Hokusai (1760-1849) Japan, Edo Period, ca. 1830-31; Color woodblock print, ink and color on paper, H x W (image): 26 x 38 cm, Image credit: Private collection
In sync with the Japan Spring celebrations taking place, the Freer and Sackler Gallery presents Thirty Six Views of Mount Fuji by well known Japanese artist, painter, and printmaker, Katsushika Hokusai . In this series Hokusai established landscape as a new subject for print making, while maintaining traditional Japanese elements such as intricate compositions, techniques and coloration. The prints indicate a spiritual connection the artist had to the landscape surrounding Mount Fuji. Some prints instill the tranquil untouched landscape of Mount Fuji while other prints illustrate the hard working laborers of the region. Who knew you could depict one landmark in so many ways?
The show will be on view till June 17, 2012. Forget to bring your reading glasses? No worries. The exhibit offers magnifying glasses, allowing you to get close enough to see every last detail!
Thirty-six Views of Mount Fuji: Under the Wave off Kanagawa, also known as the Great Wave By Katsushika Hokusai (1760-1849) Japan, Edo period, ca. 1830-32; Polychrome woodblock print; ink and color on paper, H x W (image): 25.7 x 37.9 cm, Image credit: H. O Havenmeyer
Other Japan Spring exhibits:
Hokusai: Japanese Screens (on view till July 29, 2012) and Hokusai: Paintings and Drawings(on view till June 24, 2012) at the Freer and Sackler Gallery.
Colorful Realm: Japanese Bird-and-Flower Paintings by Itō Jakuchū (1716–1800) (on view till April 29, 2012) at The National Gallery of Art.
Snapshot: Painters and Photography, Bonnard to Vuillard (on view till May 6, 2012) at The Phillips Collection.
Take advantage of these spring time events while they last!
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~Margaret McClung
Photo: Alejandro Piedra Buena, courtesy of the Museo de Arte Popular ©2010 Now that’s an impressive set of wheels! On view now at the American Indian Museum is Vochol: Huichol Art on Wheels, a contemporary indigenous art work taking the shape of a 1990 Volkswagen Beetle. This rare art form is covered from the inside out with approximately 2,277,000 glass seed beads, decorated with depictions of cultural designs, ceremonies, animals, and historic events. It took a total of 9,000 hours (about 8 months) for eight Wixaritari artists from two families to transform this automobile into the first Huichol object of art on wheels. Wixaritari (“the people”) or "Huichol", the common name for Mexico’s Native American ethnic community of nearly 26,000 people, resides in the mountainous region of the western Sierra Madre. For the Huichol, creating art in the form of beadwork, textiles, and ceremonial objects represent an expression of faith in their culture.
Photo: Alejandro Piedra Buena, courtesy of the Museo de Arte Popular ©2010
Some symbols designed on the Vochol (a slang term for the VW Beetle in Mexico) include images of deer, a two headed eagle, fire, snakes, squash, and corn. In the picture below, a fierce blue two-headed eagle is seen on the roof of the car, marking the four cardinal directions (north, south, east, and west). These designs are spread out all over the vehicle, allowing visitors to go on a fun scavenger hunt for recognizable images. Please let me know if you find any that I missed!
Photo: Alejandro Piedra Buena, courtesy of the Museo de Arte Popular ©2010
Don't miss the opportunity to see this amazing transformed work of art! The Beetle will be on view on the 1st floor of The American Indian Museum till May 6, 2012.
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~Margaret McClung
