Highlights at Hirshhorn

 

Hirshhorn Museum is celebrating its fiftieth anniversary with a landmark exhibition of works from its permanent collection spanning one hundred years. Revolutions: Art from the Hirshhorn Collection, 1860-1960 assembles two hundred and eight art works selected among the more than thirteen thousand pieces mostly acquired through the bequest from the entrepreneur and avid art collector Joseph H. Hirshhorn, a migrant from Latvia. Of the one hundred and seventeen artists represented, nineteen are contemporary and emerging, underlining the ongoing mission of the museum focused on the acquisition of late-twentieth century and contemporary art while seeking diversity with the inclusion of women and nonbinary artists. The title of the year-long exhibition hints to the rapidly evolving political and cultural landscapes of the period reflected through a selection of pivotal works. The second story of the circular building is a fitting venue for the challenging exhibition organized in seven sections each introduced by a wall text.

Head  (2018-2022), a garish figurative sculpture from the Swiss contemporary artist Nicolas Party is set like a sentinel at the entrance and the show starts on a rousing sight, two portraits side by side. Mrs. Kate A. Moore (1884) from John Singer Sargent, a commission, features the Parisian socialite  while Cobalt Blue Dress (2020) from the Ghanaian artist Amoako Boafo, one of his friends. The purposely provocative display triggers thoughts about the very distinct techniques of the figurative paintings and furthermore about status, power, beauty,... In the glass cabinet across, works from renown artists like Henri Matisse, Auguste Rodin, Pablo Picasso, illustrate the transition from figurative to abstract in sculpture. Well-known pieces from Constantin Brâncuși, "the patriarch of modern sculpture" who famously stated in 1927 "Art- There still hasn't been any art- art is just beginning", are prominently displayed. The show goes on at a dizzying pace with a succession of mostly paintings and a few photographs covering the walls, and cabinets in the center for the sculptures sometimes hanging from the ceiling (i.e. Calder). All the heavyweights are represented in the galleries labelled "Modern Beginnings", "Abstraction and Construction", "Vital Forms": Pablo Picasso, Joan Miró, Gabriele Münter, Winslow Homer, Wassily Kandinsky, Marsden Hartley,... straddling two continents from Europe to America, in mainly chronological order with a futile attempt at arranging them by movements. Futurism with Gino Severini, orphism Robert and Sonia Delaunay, surrealism Max Ernst, figurative, abstract, the visit soon becomes a blurred succession of works of art. 

A visual overload hit me when I reached the fourth gallery introduced by a vague and ambiguous title "Local Visions". Regional artists? Washington color school? Starting with a modestly sized painting from Georgia O'Keeffe, the collection of works gives a glimpse into a prolific time in American art. Thanks to the gallerist and photographer Alfred Stieglitz, Georgia O'Keeffe who later became his wife had her first exhibition at 291, the famous gallery, so did Marsden Hartley. His portrait of a hunky bather and a landscape of Mt. Katahdin in 1941 sum up his later years spent in Maine (a painting of his German years is found in Gallery 2). Of course, Arthur Dove and Milton Avery, the "American Matisse", also promoted by Stieglitz are included in this section which concentrates on American Modernism. Even a Mexican artist, Rufino Tamayo, who was shunned in his country for his political leaning, became acquainted with the group and gained fame in New York City then in Mexico. The sculptor David Smith was a friend of Avery and nine of his sculptures including the rustic monochrome red Agricola I (1951-1952) are shown with two of Dorothy Dehner's, his wife. A quintessential portrait from Alice Neel is almost overlooked among the busy display. 291 became a beacon of avant-gardism for European and American artists, and if all the above names are found in history books, outsiders like Grandma Moses and Horace Pippin are usually discovered at the occasion of a museum's visit. The quint scene from Moses contrasts with Pippin's who did not get to see Paris and depicts a nightmarish episode of the war in the French trenches. Jacob Lawrence is a story teller with four lively tableaux about parks, Harlem, a watch maker or a game of pool. His works animate the walls leading to Lorie Anderson's site specific installation, unavoidable although not part of the exhibition.

On the other side, the art history lesson continues with a significant display of fragile pieces from Jean Dubuffet set in a glass cabinet next to six portraits from Willem de Kooning made in the late fifties and early sixties. This time the featured sculptor is Alberto Giacometti and his sculptures surrounded by paintings from Jackson Pollock and less known Janet Sobel are taking over the room. Abstract expressionism is in full swing in the next gallery with Lee Krasner, Helen Frankenthaler, Joan Mitchell and their male peers, Hans Hofmann, Morris Louis , Barnett Newman, Franz Kline. It is fitting to find paintings from the "post-expressionists" Cy Twombly, Jaspers Jones and Robert Rauschenberg together in the last gallery as their professional and romantic life intertwined.

At the end of the visit, in awe, replete with images, I could not think. However with some hindsight, it seems that the cursory wall texts are barely adequate for an exhibition of this scope and duration. In view of the rich collection, could the works be rotated at least every six months? The statement on the museum's website: "Together, these gifts constitute one of the most important collections of post-war European and American art in the world. Today the Hirshhorn collection comprises more than13,130 artworks.", makes it frustrating to see so little of so much. 

One more thing, it seemed to be a cool idea to embed the works of nineteen emerging and contemporary artists, however it quickly became a source of confusion and distraction in the already busy show.

Anyway, it is another story... (next post)      

                                                     

  

photographs by the author:

-Milton Avery "Sally and Sara", 1947

-Hans Hofmann "Flowering Swamp", 1957

-Amoako Boafo "Cobald Blue Dress", 2020 and John Singer Sargent "Mrs. Kate A. Moore", 1884

The year of women artists at Hirshhorn

                In 2009, the curators at the Centre Pompidou in Paris took the bold decision to fill the venue  with works selected from the permanent collection of the Musée National d'Art Moderne, solely created by women artists. elles@centre pompidou which took place from May 2009 until February 2011 was a revelation for visitors like me. More recently in 2021, Women in Abstraction showcased the ongoing interest in gender themed exhibitions extending lately to smaller museums like the Musée du Luxembourg with Pioneers: Artists in the Paris of the Roaring Twenties, a show about the influence of women artists between the two World Wars. This Fall, the Hirshhorn in Washington D.C. is catching up with an exhibition of works selected from its permanent collection. Put It This Way: (Re)Visions of the Hirshhorn Collection "unites almost a century of work by 49 women and nonbinary artists". Located on the third floor, it assembles paintings, sculptures, collages, photographs, videos and installations spread in the galleries of the circular building.  

Organized by themes, the exhibition starts with "Eye, Body", a salient subject exploring voyeurism, violence, objectification of women, isms related to race and gender, through diverse works including Display Stand with Madonnas, 1987-1989, a towering accumulation of Virgin Marys from Katharina Fritsch. Further, Billie Zangewa in  A Vivid Imagination, 2021, represents a lonely matriarchal figure set in her backyard garden invaded by an ill-defined threatening white shape, fostering a feeling of doom. A major work from Carolee Schneemann Eye Body: 36 Transformative Actions, 1963-1973, feature photographs of the naked artist surrounded by attributes like snake, ropes, tarp, feathers, broken mirrors, and more. During her performances, the artist offers her body to the visitor's gaze in tableaux recorded by Erró. Pain and trauma inspire the next works, from a video featuring Ana Mendieta in the nude, pouring blood on herself then rolling in white feathers to Cecily Brown's painting "à la Soutine", Hoodlum, 2000-2001, inspired by her surroundings in New York City's Meatpacking district. Throwing soil from a plantation on a white wall to represent a map of the United States sums up the performance from Kiyan Williams filled with historical references. Senga Nengudi's R.S.V.P X, 1976/2014, like a drawing in space, enlivens a corner of the gallery where the elegant sculpture seems ready to dance. Adding to its aesthetic element, the piece made of panty hoses filled with sand and rose petals alludes to the resilience of women's body during pregnancy. Did Nengudi hint also at their psychological resilience? Conceptual art allows us to speculate.                                                 Following the somewhat tense works, "Nature and Abstraction" offers a break with a stunning triptych from Joan Mitchell. Size, vibrancy of colors, vigor of the brush, makes it an ode to nature and life. This also describes two paintings from Alma Thomas nearby. The cocoon-like sculptures made of alabaster, wood, silk, metal, from Lee Bontecou and Barbara Hepworth have a motherly side while Jay DeFeo's drawing and Carlotta Corpron's photographs capture the play between light and darkness to produce abstract landscapes. Ultimately, the contemplation of nature becomes a spiritual journey conveyed through Arcanum #2, Helen Lundeberg's painting. Oo Fifi, Five Days in Claude Monet's Garden, Parts 1 and 2, 1992, videos from Diana Thater, provides a cheerful transition with its exuberant colors contrasting with the muted hues of the works in the next gallery labelled Poetry of Perception, starting with a meditative painting from Agnes Martin. The realm of poetry, a way to express the intensity of emotions, encompasses also works of art like sculptures, paintings, which can trigger intense feelings. However the minimalist pieces on display generate little of these: Untitled (LeWitt)) #1, 2016, from Liz Dechenes inspired by Sol LeWitt, Night Naiad, 1977, a totemic piece from Anne Truitt or Untitled (Orange Oval), 2019, from Eva LeWitt stir little emotions. Jennie C. Jones in Light Grey with Middle C (variation #2), 2013, adds a musical element to the visual experience, referring to the most abstract of the arts. Following this first part of the exhibition, a large space provides a place to relax on comfortable sofas while reading the very relevant posters from Guerilla Girls splashed on the walls. 

"Stress Position" could be the title for Sondra Perry's installation (Graft and Ash for a Three Monitor Workstation, 2016) introduced by an invitation to pedal an exercise bicycle while watching videos of the artist's avatar. The following works are more or less related to the theme, a painful subject to reflect upon: "How does stress condition our physical spaces, bodies, and possibilities for freedom?... evident here are the ways in which marginalized bodies must continually persist in the face of resistance, pressure and even violence." The conceptual work from Eva Hesse Vertiginous Detour, 1966, sums up the long wall text while two homey photographs from Deana Lawson leave us speculate about a darker side to their story. "Earth Knowledge" includes two artists represented by installations, Dana Awartani from Saudi Arabia and Michelle Stuart associated with the Land art movement. "Shape Shifters" organized around Louise Nevelson's Dream House XXXII, 1972, features also three smaller works from Betye Saar and a portrait from the pioneer Niki de Saint Phalle. The exhibition concludes with an installation from the New Orleans born artist Zarouhie Abdalian: threnody for the unwilling martyrs, 2021, a final unsettling lament.

The diversity and abundance of works displayed is a testimony of the prolific creativity of women artists and the show provides a glimpse into the growing permanent collection: "Over the past five years 35% of Hirshhorn purchases artworks... made by women and non conforming artists. Last year alone, this number was nearly 60%." This commitment by the Hirshhorn Museum gives us the occasion to discover younger artists and savor revisiting famous ones. Long wall texts have become an unavoidable component of exhibitions, skewing the traditional relationship between artist, work of art and viewer. Under the museum's auspices, the printed statements become the official interpretation of the works of art with adds-on for "kids", possibly addressed to young teenagers (but set at a height for a six year old), robbing them of their emotions, imagination and creativity. 

 The clearly stated goal of the exhibition is not only to look at works from women artists but also consider the role of the museum in promoting them and emphasize "the significance of gender in creating and perceiving an artwork, the effects of categorizing artists by gender". This brings up ongoing concerns about the "ghettoing" of women artists. While museums have sponsored art by women, the art market is still trying to catch up. Regarding the viewers' bias, it may vary according to their personal experience. About the artist? Of course their gender influences and enriches their work.  

The year-long exhibition leaves plenty of time to visit and revisit. The only regret, the collection could be rotated over the coming months to display more works of art from women and nonbinary artists.

                                            

photographs by the author:

Rosalyn Drexler "Put It This Way", 1963

Senga Nengudi "R.S.V.P. X", 1976/2014

Guerilla Girls "Women in America Earn Only 2/3 of What Men Do (from Portfolio Compleat:1985-2012)", 1986/exhibition copy 2022

From Gauguin to Calan, P.3 at the NOMA

The visit for Prospect.3 should start at the New Orleans Museum of Art, on the second floor, where the visitor can find the nexus of the biennial, Paul Gauguin's painting Under the Pandanus, 1891. The title of Where Do We Come From? What Are We? Where Are We Going?, 1897, another work from Gauguin, would better summarize "the search" which is going to propel the visitors around New Orleans in the next few months. Gauguin is found next to Degas in the gallery. The two artists mingled while in Paris and, upon his return from New Orleans, Degas encouraged the restless artist to move to the Crescent City. Gauguin ended up in Tahiti and even further, the Marquesas Islands, in his search for exoticism and himself. Degas reported to the dealer Ambroise Vollard: "I advised him to go to New Orleans, but he decided it was too civilized. He had to have people around him with flowers on their heads and rings in their noses before he could feel at home."
The next P.3 artist, Tarsila do Amaral is represented with a painting and three drawings. Upon her return from Europe, the artist traveled in Brazil with the poet Oswald de Andrade, looking for the primitive and indigenous in her country. Os Anjos, 1924, is a naive but provocative painting representing mestizos as angels. One can find the influence of Fernand Léger in the tubular bodies and of her childhood in the colors baby blue, pink, she "adored as a child". The Brazilian artist was a member of the Anthropophagic Movement, and the sketches are related to one of her most famous work, Anthropofagia, 1929.
Jeffrey Gibson's search translates into a dichotomy in his works. From Choctaw and Cherokee descent, he "modernizes" traditional material like raw hide, beads, mixing them with fluorescent light or metal, and in the process westernizes the American Indian culture. He is represented by half a dozen iconic works appropriately displayed next to the golden cabin from Will Ryman, titled  America, 2013, part of the permanent collection.
Two abstract expressionist landscapes from Ed Clark and one of his oval paintings are next to a work from Joan Mitchell belonging to the permanent collection. The american artists became friends in Paris. Mitchell, who lived in France most her adult life, meets the criteria for P.3. In one of his essays, John Ashbery states: "she voluntarily became an apatride, not an expatriate". Alma W. Thomas did not choose to leave her birthplace. She was uprooted during her childhood from her native Georgia to Washington, D.C. with her family, to flee the racial violence. In the three paintings selected for P.3, she depicts nature with her characteristic brushstrokes and vivid colors. She was a member of the Washington Color School.  
Huguette Calan, another female artist, was born in Lebanon, taught in France and is currently living in California. Her body-landscapes are filled with sensuality and poetry.
The paintings from Frederick Brown are first and last, decking the Great Hall. Musicians have been selected among his portraits which include folk heroes, religious figures and more. Music is a dear theme in New Orleans, however, I could not find the link with P.3.

At first, the Prospect.3 exhibition at the New Orleans Museum of Art seems spotty, but after some consideration, the works embedded in the permanent collection offer a platform to look at the landscape from Asher Durand or the boxes from Joseph Cornell with new eyes. This is what the biennial is also about.






photographs by the author:

"Os Anjos", 1924, Tarsila do Amaral
"Quiver", 2012, Jeffrey Gibson
"Sunrise", 1973, Huguette Calan

Trees, arbres, sunflowers and more

Spring, Joan Mitchell is "the" artist of the season in New Orleans. Her works are displayed in three venues: the CAC. the NOMA and the Newcomb Gallery.

Starting with the CAC, downtown, the first floor is filled with lithographs and etchings.

Joan Mitchell's works can appear difficult to view at first. She is a well-known Abstract Expressionist painter who developed her own style, which can be recognized after looking at a number of her paintings. She had different periods, some darker, others more luminous. Her technique and her vision are unique. When one looks at her series on trees, we could call her Impressionist ( some may cringe). The trees are seen at different time of the day, and they appear dark, menacing with the light yellow illuminating the painting in the background. She is clearly giving an impression of the late time of the day, dusk.
The series of sunflowers could be described as dynamic, vibrant. She is not painting sunflowers. She is concentrating a lifetime of looking at sunflowers.



Uptown at the Newcomb gallery, a different set of works can be viewed, pastels and watercolors all inspired by nature. The presentation of the exhibition is well done and the bright colors of the works glow in the soft light of the gallery. The visitor can understand the different periods of the artists. One room is dedicated to a diptych which occupies a whole wall. Done the year of her death, it is an apotheosis with rich colors, movement, a story of the painter's life.
Joan Mitchell is one of the artists who, dealing with their own mortality composed brilliant pieces, like a final message, and at the same time, a hope for the future.



Joan Mitchell's works need to be looked at again and again: poetic, with impressions, colors, movements and intellectual talking about life, death.