Randomly, I started the visit in the library on the first floor where three photographs of Samera Paz are hung on the wood panels. At first, they seem disconnected: pages of an adolescent's diary, still lifes of beauty products or neatly folded cloths. The vivid compositions are made of objects gathered in the foreground leaving little space for the neutral background. They represent a personal history, and "I" included in each title is the link. Can they involve "Us"? Rebellious adolescence, loneliness, consumerism, pressure to fit in,... the gamut of anxieties expressed through the accumulation of words or objects reaches a wide audience finding common ground. Activist and artist Samera Paz is known for her use of a different medium, menstrual blood. For the show, she simply exposes her vulnerability.
A narrow passageway lined up with drawings and small paintings from masters like Paul Klee, Picasso, Kandinsky, leads to the next room. Surrounded by the lively colors and lines of the abstract works from Charles Hinman, David Urban and Thomas Downing, Kyrae Dawaun's piece is a surprise, on the floor. Combining copper nestled in a concrete square mound and a geometric structure made of pale bluish limestone framed by white oak, it appears indestructible. The title tells another story: a confluence toward an ill Delta (2023) evokes the fragile ecosystem threatened by climate change and human intervention. Under the playful rays of the sun, like an island on the parquet, the work found its place.
An intimate parlor is the next stop to watch the three videos from Cecilia Kim. The South Korean artist now living in D.C. stays hidden behind a black screen to perform a slow ritual, her hands carefully handling small pieces of food found in traditional Korean dishes. Lasting twelve minutes to over one hour, the footages reveal the value of "performed labor", title of the work (Performed Labor, 2021). With its implied respect for nutrients and cultural heritage, the slow repetitive activity leads to a state of quiet meditation, transforming manual labor into a spiritual endeavor. On the walls, still lifes from Van Gogh, Cézanne, Picasso, including the famous Café de La Rotonde (1901) complete an inspiring display.
The bottom of the staircase is a perfect site for Ara Koh's installation gathering thirteen sculptures made of fired clay. Two to six feet high, they create a landscape evoking the Southwest of the United States. Like sculpted by the elements, their rough surface even shows some cracks, underlining the fragility of the natural world. Core Sample (2020) describes an arid ecosystem, a haunting desert. Through an intense labor, the South Korean artist leaves her marks on the clay to represent "geological time and metamorphosis".
Matthew Russo's works are found between two major paintings, Flin-Flon XIII (1970) from Frank Stella and Cape (1969) from Sam Gilliam. Practiced Play, Iterations #1-3 (2023), a gathering of white and fluorescent colored sculptures looks like made of playdough. Set on the floor in the center of the room, the line up of small whimsical objects brings a playful distraction to the magisterial display. On the wall, Workplace Drawings #1-15 (2021), a series of fifteen blue and red drawings of surrealistic objects floating on a white background, reveals an infinite world of dreams.
For most of us "work" evokes enforced prosaic labor, sometimes physically or mentally exhausting , mostly dull. It feels paradoxical to use the word in the title of an art show. Here, photographs, sculptures, drawings and videos are born from a labor transcended by the artists. Their creations spread among the masterpieces enhance the visit and rejuvenate the permanent collection, transforming The Kreeger Museum into a dynamic and nurturing venue.
Cecilia Kim "Performed Labor", 2021 (videos)
Matthew Russo "Practiced Play, Iterations #1-3", 2023
Frank Stella "Flin-Flon XIII", 1970
