art

...now browsing by tag

 
 

Patterns and fugue

Wednesday, July 22nd, 2009

Apparently, if you’re in DC and are looking for a place to sit down a while, get your thoughts down, and have something tasty to eat all you have to do is wander a block or two away from the Mall and keep your eyes open. I’m in a little cafe that specializes in flatbread sandwiches and salads, enjoying a view of rush-hour traffic accompanied by decent music, free refills, and wi-fi.

I’ll head over to the National History Museum shortly; they’re open late, and I may have given them short shrift yesterday. Plus, I need some souvenirs.

Amazing pattern

Amazing pattern

I spent the day at the Freer, Sackler and National galleries, immersed in the finest artwork from the past fifteen hundred years or so. I found myself fascinated by two aspects of art today, composition and ornamentation. In looking at the exquisite pottery and late bronze work of China and Iran, I found I was stunned by the intricacy of the patterning used. In my foray to the National Gallery, I kept being struck by the careful composition that was involved in the masters’ paintings. And then in the exhibit on royal armor from 15th and 16th century Spain and the paintings thereof, the two themes collided beautifully, and I found myself marveling at the detail in the context of the elegant compositions.

I saw Renoirs and Matisses and Whistlers and Degas and Monets and Manets and the self-portrait by VanGogh, and got to examine the brushwork that went into each. Massive canvases a story tall, tiny miniatures in little cabinets, sculptures and jewelry and weapons of war.

Geometry

Geometry

There’s a fugue involved in post-art-museum browsing, as there is when I’ve been to the zoo. Instead of seeing people as the animals they are, as I do after looking at animals all day, when I’ve been exposed to artwork I see the people around me as art. Every face I see through the window of a car is a portrait; the couple at the next table are telling a story with the way that they’re sitting. The world around me has become luminously beautiful.

I suppose the truth of the matter lies somewhere between the two. We are animals, and we are art.

Close Encounters

Tuesday, July 21st, 2009

Last night I happened upon a few hundred people hanging out in the National Mall; it was one of this year’s Screen On The Green, a showing of Close Encounters Of The Third Kind in the open air, with the Capitol for a backdrop. And in the midst of the gathered crowd, there was Metafilter’s own Mr. MoonPie, waving at me. So I got to join him and his lovely wife and some of the most laid-back people in DC for the screening. I stayed long enough to hear the famous five-note chant ring out across the Mall, and then wandered to the memorials, which I’d heard are best seen at night. Magnificent.

The Washington Monument

The Washington Monument

The plan for today was to wander the Museum of American History, but I found myself thoroughly uninterested. It was bric-a-brack, detritus of the past which was only distinguished by having been touched by the hands that made history. Their magic hadn’t worn off on it, it hadn’t been made any more special by their use. It was just… stuff.

I fled to the National Gallery. I have an insatiable hunger for art these days. Seeing Rembrandt’s self-portrait, being able to look at his brush strokes upon it, the unlikely way in which he used color and texture to create himself on the canvas. This is what matters.

So now I have seen Magritte’s The Human Condition up close. I’ve seen a Jackson Pollock which filled my whole field of vision, dizzyingly. I’ve met Rembrandt’s self-portrait stare, and found it hard to tear myself away. I’ve watched Calder’s enormous mobile rotate slowly above throngs of tourists.

A view from the Portrait Gallery

A view from the Portrait Gallery

I find myself inspired. Possibly overly-inspired; I’ve absorbed an enormous amount of artwork over the past few days, ranging from lunatic crafts to incredibly refined realism, and it’s overwhelming. The most important thing I think I’m coming away with, though, is the motto that’s inscribed over the Throne, the theme of the week: fear not. Do what you want, try things, see what you like, keep refining that process. Learn, expand, create, grow, make, repeat. Play with the process.

Oh, and one more thing I’ve leared. If Mr. MoonPie recommends a restaurant, listen. I had unimaginably good soft-shelled crabs for dinner this evening, at a restaurant just two blocks from my hotel. I’d never have known about it without him. If he recommends a dumpster, I’m eating there.

A small, bespectacled, soft-spoken man

Saturday, July 18th, 2009

There are some magnificent works here at the Smithsonian; works in oil on canvas, works in stone and bronze and gold and silver and diamonds. Works by great masters, trained by great masters, working at the heighth of their powers in a medium refined throughout centuries. So why is it that the one work that’s entranced me the most so far on my tour is made out of hand-me-down furniture, garbage, tinfoil, and cigarette packs?

The Throne

The Throne

James Hampton’s The Throne of the Third Heaven of the Nations’ Millenium General Assembly was built in a garage in northern DC. Hampton was a janitor, who worked on the piece in obscurity, by himself, for over a decade. He considered himself a prophet, referred to himself as a saint, wrote in a code that has not yet been broken, and created ineffable beauty from garbage.

There are worlds within us all, it turns out, and astonishing things come to pass when we let them out, in whatever form they take. Fear not.