On Sunday at 1:30 p.m., celebrate National Poetry Month at the Smithsonian American Art Museum, as Washington poet and visual artist Fred Joiner discusses the nexus of art and verse. Immediately after Joiner’s talk in the third-floor Luce Foundation Center, visitors are invited to write and share their own art-themed poetry. There’s no shortage of inspiration; the library-like storage space houses more than 3,000 objects from the permanent collection in glass cases and drawers.
John Lautner believed that “architecture should be really odd.” To this end the midcentury American architect dotted Southern California with a concrete, glass and copper volcano for Bob Hope’s second home, a dwelling that looks like a UFO perched on …
Art lovers and archivists will soon start to feel the bitter sting of sequestration, according to Congressional testimony given today by officials from the Smithsonian Institution and the National Archives and Records Administration.
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Visitors to the Smithsonian Institution and the National Archives will notice changes to summer hours and exhibitions as of May. The Smithsonian will begin closing certain galleries on a rolling basis come May 1 because of across-the-board budget cuts…
A deep understanding of the new exhibit “Time and Navigation: The Untold Story of Getting From Here to There,” begins with a basic premise: If you want to know where you are, then you need to know what time it is.
Brett Van Ort’s photographs of meadows and towns nestled in cradles of foliage verge on Disney-like. But the title of the project, “Minescape,” betrays the sinister side of the story. These are photographs of the Bosnian war’s front lines, still laced with explosives 17 years after the conflict ended.
The juxtaposition of the storied, jewel-toned fabrics in the “Out of Southeast Asia: Art That Sustains” exhibit, which opened Friday at the Textile Museum, and the empty display cases, packing materials, and boxes in the hallway of the historic house museum seems oddly congruent.
Now that there is an agreement between the Corcoran Gallery of Art and College of Art and Design and the University of Marylandto pursue some kind of collaboration or partnership, it’s tempting to think the coming months will be all about details, granular negotiations about how the arrangement will be structured and perhaps a little horse trading as the two parties try to figure out how to get the best out of each other. That is, of course, all necessary.
The theme of “Concrete Abstract,” a group exhibition at Heiner Contemporary, is “the confluence of abstraction with the everyday.” Thus, the selection includes work that repurposes tablecloths, patio furniture and glittery knickknacks. But the show — curated by one of its participants, Matthew Smith — also has another visual agenda. It might be subtitled “homage to the rectangle.”
Museums, it has been said, are places where art goes to die. That alludes to the metaphorical embalming that occurs when an artwork is enshrined for posterity, not when it’s destroyed at the end of a show.