A Renwick 'disruption'

Dustin Farnsworth (b. 1983), The Reconstruction of Saints, 2018, collection of the artist who stands in the background/Photo by Patricia Leslie, Nov. 8, 2018

And just when you think you've seen it all...you haven't.

If you missed the show at the Renwick Gallery, Disrupting Craft: Renwick Invitational 2018, you may see photos of it in the catalogue or catch glimpses of some of the artists and their works here which will erase any doubts you may have about today's artists.

Four of them exhibit an amazing diversity of talents and creativity in their handmade works which connect to the world around us.

 Dustin Farnsworth, The Reconstruction of Saints, 2018/Photo by Patricia Leslie, Nov. 8, 2018

 

Dustin Farnsworth with his The Reconstruction of Saints, 2018/Photo by Patricia Leslie, Nov. 8, 2018

Sharif Bey (b. 1974), Assimilation? Destruction, 2000, Juliet Art Museum, Charleston, WVA. The catalogue and wall label note this work is based on Mr. Bey's M.F.A. thesis and includes 1,000 ceramic heads dumped from a bucket into a heap of "collective souls, breaking into more pieces each time."/Photo by Patricia Leslie, Nov. 8, 2018.


Whether you like a particular style, no one can deny the uniqueness, complexity, and sharp edges this group, all born in 1974 or later, bring to the public arena. 

Continuing the biennial Renwick tradition competition which began in 2000, the selected craft artists who "deserve wider recognition" are Tanya Aguiñiga, Sharif Bey, Dustin Farnsworth, and Stephanie Syjuco. Their works were chosen by Abraham Thomas, curator, Renwick Gallery; Sarah Archer, independent curator; and Annie Carlano, curator, Mint Museum, Charlotte, N.C.

 Sharif Bey (b. 1974), 3 White Birds, 2017, collection of the artist/Photo by Patricia Leslie, Nov. 8, 2018

Tanya Aguiñiga (b. 1978) Hand-Felted Folding Chairs, 2006-present, collection of the artist/Photo by Patricia Leslie, Nov. 8, 2018

Tanya Aguiñiga, Nopal, 2017, detail, Volume Gallery, Chicago/ Made from clay, horse and human hair, alpaca, flax, iron and more/Photo by Patricia Leslie, Nov. 8, 2018.

Tanya Aguiñiga, Nopal,  2017, Volume Gallery, Chicago/Photo by Patricia Leslie, Nov. 8, 2018

Stephanie Syjuco (b. 1974) with her Neutral Calibration Studies (Ornament + Crime), 2016, which, according to the catalogue "questions notions of cultural and political identity." The objects "compete for attention" while modernism begins to overtake colonialism. Collection of the artist and Nion McEvoy/
Photo by Patricia Leslie, Nov. 8, 2018

Stephanie Syjuco, Neutral Calibration Studies (Ornament + Crime), 2016, detail/Photo by Patricia Leslie, Nov. 8, 2018

Stephanie Syjuco, Neutral Calibration Studies (Ornament + Crime), 2016, detail/Photo by Patricia Leslie, Nov. 8, 2018

Stephanie Syjuco, from left, The Visible Invisible: Plymouth Pilgrim (Simplicity), Antebellum South (Simplicity), and Colonial Revolution (McCall's), all 2018 and from the collection of the artist/Photo by Patricia Leslie, Nov. 8, 2018

Stephanie Syjuco with her, from left, The Visible Invisible: Antebellum South (Simplicity) and Colonial Revolution (McCall's), both  2018/Photo by Patricia Leslie, Nov. 8, 2018

Stephanie Syjuco with her Ungovernable (Hoist), 2017,  "which illuminates the rich craft history of protest banners ...[and] highlights the distortion of images and information in the Internet age," according to the catalogue. Collection of the artist and Ryan Lee Gallery, New York/Photo by Patricia Leslie, Nov. 8, 2018

Ms. Aguiñiga was born in San Diego but grew up in Tijuana. An activist who questions gender and nationality, she often relies upon her background as a Mexican American for inspiration. In college she studied furniture design.

Mr. Bey was born in Pittsburgh and focuses on African- American culture and Oceania. A Fulbright scholarship recipient, he has a Ph.D. in art education from Penn State and teaches at Syracuse University.


Mr. Farnsworth was born in Lansing, Michigan where the poor economy has influenced his life and work. His XLIII concerns the 43 persons under the age of 18 who were killed by U.S. police officers in 2015. He holds a B.F.A. in woodworking and functional art from Kendall College of Art and Design.

Ms. Syjuco was born in Manila and is based in California where she teaches at the University of California, Berkeley.  Her concentration is large-scale installations about political dissent and other societal issues. According to the catalogue, she is the only one included in the show without a connection to North Carolina, either as a student and/or artist.

More information about each participant and their works may be found in the softbound catalogue ($34.95) available online or in the shop.
 
In Disrupting press releases, the Renwick stressed the importance of choosing artists who challenge the commonplace while seeking to connect communities, and urge collective engagement, wisdom, and tolerance in the age of divisiveness.

Fifty ceramic, photographic, sculptural, woolen and fiber works were on display.

What: Disrupting Craft:  Renwick Invitational 2018

When: The Renwick is open from 10 a.m. – 5:30 p.m. every day, except Christmas Day. Disrupting Craft ended May 5, 2019.

Where: 1661 Pennsylvania Avenue, NW, Washington, D.C. 20006, at the White House 17th Street block, adjacent to Blair House.


Admission: No charge

Metro stations: Farragut North or Farragut West

For more information: (202) 633-7970 (recorded) or (202) 633-2850  
 
patricialesli@gmail.com

 

Renwick sparkles with 40 at 40

 

 

Joseph Foster Ellis (b.1984) China Tree 2012, courtesy of the artist/Patricia Leslie

You will not be bored.

 

And your companions will thank you.

 

It's a fantastic show for all ages in celebration of the Renwick Gallery's 40th birthday.

 

What?  The Renwick is only 40 years old?

 

Yes, it does seem like it's been around much longer, doesn't it? But never mind and see the show.  The mental refreshment is more than worth it.

 

Okay, enough with the plaudits already, what's it about?

 

40 under 40: Craft Futures are works by 40 artists, all under the age of 40, whose pieces were chosen from 2,000 nominees for inclusion in the Renwick's anniversary special, and it features only art created since September 11, 2001. 

 

Fashion, silver, textiles, sculpture, jewelry, glass, whimsy, you name it, and you can probably find it in the exhibition. The galleries rebound with energy, excitement and imagination stimulation. 

The artist, Olek (b. 1978) is interviewed at her work, Knitting is for Pus**** 2005-2011 with living model in the background/Patricia Leslie

Mia Perlman (b.1974) One 2012, courtesy of the artist/Patricia Leslie

 

Mia Perlman (b.1974) One 2012, courtesy of the artist/Patricia Leslie

 

Unlike much contemporary art or what you might expect of productions created by young artists, harsh and bleak are not what guests will find at the Renwick, although war is a subject chosen by some who have grown up in "a nation perpetually on edge."  Many of the artists portray exuberance and contradict the dark vision one finds so often in venues with modern content.  The future is not as dim as some want us to believe.

 

Jeff Garner (b. 1978) Black Ostrich Dress 2011, courtesy of the artist/Patricia Leslie

 

Jeff Garner (b. 1978), Men's Quilted Coat 2011, Smithsonian American Art Museum, Gift of Elmerina and Paul Parkman in honor of the 40th anniversary of the Renwick Gallery and the 30th anniversary of the James Renwick Alliance/Patricia Leslie

 

 According to a statement from the Renwick, the exhibition “reflects the changed world that exists today, which poses new challenges and considerations for artists."

 

The display embraces renderings which illustrate society's present romance with “sustainability” and  “handmade.”

Jenny Hart (b. 1972), La Llorona 2005, Smithsonian American Art Museum, gift of the artist in honor of Lyle C. and LeJean D. Hart/Patricia Leslie

 

 This is an excellent show to introduce children to art exhibitions for neither is it too large nor too overwhelming to grasp different materials and designs.  They will be intrigued (just like adults) by what all artists can do.  

 

And for as low as $10, donors can help the Renwick buy a piece by every artist featured in the show.  Click here for more information.

Joshua DeMonte (b. 1984), Aqueduct Collar 2008, courtesy of the artist, and Curtains and Balcony Bracelet 2008, Smithsonian American Art Museum, gift of Irene and Bob Sinclair/Patricia Leslie

 

This is the first time any of the artists have exhibited at the Smithsonian.  Joshua DeMonte told me he was absolutely floored when he was initially contacted by the Smithsonian about possible inclusion in the show.

The Renwick Gallery is the Smithsonian American Art Museum’s branch for contemporary craft and decorative arts.

 

40 under 40: Craft Futures is part of a biennial series which celebrates artists deserving broader recognition. Funding from the Ryna and Melvin Cohen Family Foundation Endowment, the James Renwick Alliance,  Fleur Bresler and the Windgate Charitable Foundation has made the exhibition possible.  Renwick curator Nicholas R. Bell organized the exhibition. 

Here's a Renwick calendar of upcoming related events:

September 19, 2012, noon, American Craft Masterpieces: Sergey Jivetin’s Poultry Accumulus
September 22, 2012, 8 p.m., A Dress to Change the World with Jeff Garner/Prophetik October 12, 2012, noon, Design Craft: DreamHome
October 17, 2012, noon, American Craft Masterpieces: Vivian Beer’s Slither.walk.fly
November 8 and 9, Symposium, Nation Building
November 14, 2012, noon, American Craft Masterpieces: Andy Paiko’s Spinning Wheel
November 27, 2012, noon, 40 under 40: Craft Futures Gallery Talk
November 29, 2012, 5:30 – 8 p.m., Craft Futures Handi-hour

 

What: 40 Under 40:  Craft Futures

 

When: 10 a.m. – 5:30 p.m. every day (except Christmas Day)  through February 3, 2013

 

Where: 1661 Pennsylvania Avenue, NW, Washington, D.C. 20006 (at 17th St.)

 

Admission:  No charge

 

Metro stations: Farragut North or Farragut West

 

For more information:  (202) 633-1000

 

patricialesli@gmail.com

White House furnishings close Sunday at Renwick Gallery

Armchair, 1818, made by William King, Jr. (1771-1854), Georgetown, D.C., mahogany, gift of Mr. and Mrs. John Ford Sollers, Sr., 1986/White House Historical Association

Well, if you can’t get in the White House, why not at least see some of its furniture, china, a president's breakfast tray, place settings, and other items now on display at the Renwick Gallery?

This lovely museum (one of the Smithsonians), which whispers refinement and culture, is located just down the street from the White House on Pennsylvania Avenue, next door to Blair House, if you’ve ever stayed there.  (No?  Then you must not be a head of state, but you are invited to the Renwick which is at the corner of Penn and 17^th Avenue North, NW, at no charge.)

The curators call the White House belongings, "decorative arts," and there are 95 pieces in the exhibition created to honor the 50^th anniversary of the White House Historical Association.

For anyone in or around or remotely interested in Washington, D.C. which shall include but not be limited to historians, White House aficionados, curiosity seekers, political junkies,  presidential scholars, art historians, and who's left?  This exhibition is absolutely “must-see.”

What are "decorative arts"?  Glad you asked:   They are anything which decorates, enhances, or adds to the richness of a living environment (like my parakeet) such as silver, glassware, chairs, tables, crystal and a bedspread.

And there is one last museum public talk about it to be delivered at noon, Friday, May 4, at the Renwick by White House Historical Association Vice President John Riley. 

The show includes a few of the 464 pieces of a silver set made in 1809-1810 which, despite criticism from Congressional members, President Andrew Jackson purchased in 1833 for the White House.  To buy the set, the president used money raised from an auction of White House furniture.  (Congress and the president weren't getting along then either.)

Also included in the Renwick presentation:

A large soup tureen with eagle finials made in France in 1809-1817 which President James Monroe purchased in 1817 to commemorate the U.S. victory in the War of 1812,

A large (very large) wild turkey platter from the Rutherford B. Hayes administration,

Pieces of the Lincoln china selected by Mary Todd Lincoln who was instrumental in the design of the wine-colored borders,
 

Teddy Roosevelt's silver breakfast tray,

A place setting for a state dinner with four forks, three knives, a dessert spoon and glasses  for water, champagne, wine, and dessert wine. 

Grace Coolidge hoped to start a tradition among First Ladies by leaving a special legacy to the White House, but her successors ignored her idea. You may see Mrs. Coolidge's gift, a beautiful and elegant bed covering she crocheted between 1925 and 1927 for the Lincoln bedroom.

The only outlier in the show is a 1903 amateurish painting of the Blue Room by Washingtonian Charles Bittinger (1879-1970) which may be one of the primary reasons it is there:  He was local.  Please, go have a look and see what you think. Honestly, I cannot imagine this hanging anywhere in the White House except inside a closet.

The entire exhibition is well laid out with decorative plants and an atmosphere of the 1920s to put a visitor "in the  mood."  On the three occasions I visited, no one obscured visibility.

At the end of the show and before reaching the gift shop, visitors will enter a small room with benches where they may sit and see an informative and exceedingly worthwhile video, At Home in the White House which stars Laura Bush, Tricia Nixon Cox, Rosalynn Carter, Susan Ford Bales, and Linda Bird Johnson Robb.  Not to miss!

What:  Something of Splendor: Decorative Arts from the White House

When:  Now through Sunday, May 6, 2012, 10 a.m. - 5: 30 p.m.

Where:  Renwick Gallery, 1661 Pennsylvania Avenue, N.W.

How much:  No charge

Metro stations:  Farragut North or Farragut West

For more information:  (202) 633-7970 or (202) 633-1000

patricialesliexam@gmail.com

Rush! Renwick Jewelry Show Closes July 6

By the Queen of Free

Ornament as Art: Avant-Garde Jewelry from the Helen Williams Drutt Collection organized by the Museum of Fine Arts in Houston

More than 275 pieces created by artists from around the world are included in a glittering exhibit which is delightful in every way at the Renwick Gallery

Unless the wearer is a giant, I do not believe this is jewelry made to be worn but to admire and wonder about the artists’ perspectives and creativity.

From the “Conventional Weapons Necklace” (just imagine) by Nancy Worden to the brooch, “Hear No Evil, See No Evil, Speak No Evil” by Judy Onofrio, which includes a tiny colorful cameo of Abraham Lincoln and the three monkeys in common crouch with serpents intertwining the pin’s borders, this is an stunning show which entertains gloriously.

Many brooches, some necklaces, a ring stand, and a few bracelets (can you guess what the “Gold Finger” bracelet looks like?) are included in this show of contemporary adornments. I did not see any earrings or body piercings.

Some of the most fascinating necklaces are: “Sneak Necklace” of beads and thread by Joyce Scott, “Square Necklace” by Robert Smit, “Air Neckpiece” by Pierre Cavalan and one made of book paper by Janna Syvanoja.

Everything is absolutely incredible.

Since the gallery is open on the 4th, take your brood (the children will be almost as captivated as you) for a peak before you head to the Mall to see the fireworks show which will almost match the color and spark inside the Renwick.

You likely know the Renwick is a few steps from either Farragut Metro Stop, sits adjacent to the Blair and Lee houses on Pennsylvania Avenue at the intersection with 17th Street, N.W. down the street from the White House and Lafayette Park, and the show is free, mind you, free!

Another Smithsonian treasure. Hours are from 10 a.m. until 5:30 p.m. Monday – Sunday. You will love it.