modernism

D.C.’s Renwick Gallery Celebrates Its 50th

Centrally-located across from the White House, the Smithsonian’s Renwick Gallery (part of the Smithsonian American Art Museum) is the nation’s flagship museum of American craft and decorative arts. Opened in 1972, the museum is celebrating its 50th anniversary this year by showcasing widely-diverse perspectives of craft and design with the exhibition THIS PRESENT MOMENT: CRAFTING A BETTER WORLD. The museum launched an acquisitions campaign in 2020 to enlarge the number of Black, Latinx, LGBTQ+, Indigenous, and women artists represented in its permanent collection. More than 200 craft objects were collected, and over 130 of these newly-acquired works are among the 171 artworks on display in THIS PRESENT MOMENT. Nora Atkinson, the Fleur and Charles Bresler Curator-in-Charge for the Renwick helped organize the exhibition with Mary Savig, the Lloyd Herman Curator of Craft, and Anya Montiel, curator at the Smithsonian National Museum of the American Indian.

The National Gallery of Art Showcases ‘Afro-Atlantic Histories’

This Spring, the National Gallery of Art in Washington, D.C., has opened AFRO-ATLANTIC HISTORIES — an enormous exhibition that visually explores the far-flung diaspora of the Western slave trade. Organized in 2018 by the Sao Paulo Museum of Art, the show originally had a Brazilian focus. But NGA Curator Kanitra Fletcher has reconfigured it now as an exhibition with a vast canvas that conveys the impact and legacy of the African Diaspora across four continents–Africa, the Americas, the Caribbean, and Europe.

The Phillips Collection, Washington, D.C. Uncovers Picasso’s ‘Blue Period’

Another Picasso exhibition? Yes, he was brilliant and there are new generations waiting to discover his significance—but is there really anything new to say? The Phillips Collection in Washington, DC, and the Art Gallery of Ontario think there is, and have co-curated a new exhibition whose ambitious purpose is revelation. To achieve this goal, PICASSO: PAINTING THE BLUE PERIOD showcases how X-Ray imaging reveals young Picasso’s emergence as a distinctive painter in his early career in Paris and Barcelona. There is always room for new ideas in art history, and Phillips Head of Conservation Elizabeth Steele believes that since much conservation work is done behind the scenes, sharing their work with the public “is a unique chance to spotlight the science of preserving art.”

Washington, DC’s Hillwood Museum: “The Luxury of Clay- Porcelain Past and Present”

Today ceramic objects are taken for granted, including earthenware, brick or even fine porcelain because of their omnipresence. We eat from plates, drink from cups and mugs and decorate our dwellings with vases filled with flowers. The ceramic industry is one of the oldest that goes back thousands of years, perhaps because clay was plentiful, the process basic and people figured out how to make useful and decorative things with it. One of the earliest pieces ever created using fired clay dates back to the late Paleolithic period 28,000 BC. A female statue of a nude woman, known as the Venus of Dolní V?stonice, was discovered in the Paleolithic site Dolní V?stonice in the Moravian area south of Brno in the Czech Republic. Also found at this same site in a horseshoe shaped kiln were hundreds of clay figurines representing Ice Age animals ––bear, lion, fox, horse and owl along with over 2000 balls of burnt clay.

In China pot fragments dating back to 18,000-17,000 BCE have been found. Historians believe that China’s use of pottery successively spread to Japan and the Russian Far East region where archeologists have recovered shards of ceramic artifacts dating to 14,000 BCE. However, progress toward porcelain making evolved very slowly in China since its production is far more challenging than that for earthenware or stoneware. Porcelain is the most prestigious kind of pottery because of its delicacy, strength, and radiant translucent, white color and was finally produced about 2,000 to 1,200 years ago in China.

Picasso and the Guitar: Memory and Metaphor

Inspired by, ‘Picasso: Guitars (1912-14)’- At the Museum of Modern Art, New York City

Though living in France most of his life, Picasso was a Spaniard, through-and-through, remaining proud of his birthright, cultural heritage and sun-drenched memories of childhood, over his lifetime. Any retrospective of his work as a painter and sculptor reveals that he was continually informed by the iconic images of Spain, at both conscious and unconscious levels: the raven-haired, large-eyed female figures, matadors and bull-fighting motifs, the open-balcony studio settings of his imagination, replete with palm-strewn vistas of warm seas, mythic creatures from Greco-Roman legend and seductive naked sylphs, all belie his enduring visceral attachment to las cosas de españa.

Manhattan Theatre Club’s ‘Morning Sun’: No Heart Untouched

Manhattan Theatre Club’s production of British Playwright Simon Stephen’s three-generation memory play Morning Sun ran through Sunday, December 19^th at New York City Center.For the discerning theatergoers who live and die theater, and perhaps still remember the dazzling effectiveness of Stephen’s Tony winning play, The Curious Incident of the Dog in the Night (2015) it was a must see. I kid you not.

NGA & A WIDER ANGLE: “THE NEW WOMAN BEHIND THE CAMERA”

The National Gallery in Washington, D.C., has recently opened a major exhibition celebrating significant 20th century women photographers. As curator Andrea Nelson explains, The New Woman Behind the Camera is intended to explore how photography became “a global symbol of female empowerment based on real women making revolutionary changes in life and art.”

New York’s Gagosian Shows Nathaniel Mary Quinn: Not Far From Home: Still Far Away

Nathaniel Mary Quinn, “Not Far From Home; Still Far Away,” on view at Gagosian, presents an exploration of Quinn’s relationships in fourteen intense portraits, created in a range of media that includes oil paint, gouache, charcoal, oil stick and pastel. Distortion is the keynote of Quinn’s inner-based perception, expressed in a vision that transforms the artist, his friends and his female subject, apparently his mother. He disregards visually perceivable features, boldly executing truncated, layered, re-imagined, and spliced images that exude a sense of deep emotional anguish. Quinn’s impeccable inventive paintings compare with the visceral images Francis Bacon created in his portraits, and Picasso’s Synthetic Cubist women.

Denver’s Arvada Center for Arts and Humanities with ‘Text in Art’

Barbara Kruger, Jenny Holzer, Ed Ruscha, and Christopher Wool are just a few of the most renowned artists who have very successfully used words as key elements in their art. After all, visual art is a form of communication, and the addition or focus on text in the creative process can be a very powerful tool. Currently, the Arvada Center for the Arts and Humanities in Arvada, Colorado is presenting two excellent exhibitions curated by Emily Grace King and Collin Parson that focus on a number of contemporary artists who too address the import and range of text in art.

A Wild Note of Longing: Albert Pinkham Ryder, Century of American Art

Even though Albert Pinkham Ryder is an established American painter best known for his rhythmical and brooding allegorical scenes and seascapes he is not recognized as much as fellow painters Winslow Homer, Childe Hassam, Edward Hopper, Thomas Cole or Albert Bierstadt. Ryder was born in New Bedford in 1847 though, moved to New York in 1868 with his family where he spent most of life except for several trips to Europe and North Africa. There is something special about seeing Ryder’s work at the New Bedford Whaling Museum because of the importance of this sea town as the historical center of whaling and fishing. The ocean and its moody environment were deeply entrenched in Ryder’s psyche and profoundly influenced his expressive paintings of the sea in spite of living in New York City most of his life.