Tuesday, September 11, 2018

When in DC stop at the Old Patent Office for some great art

Picture the Smithsonian Institute in your mind. What do you see? The Castle? The Museum of American History? Maybe the Museum of African American History? There is a lot more to it than the “big-name” collections. A recent trip to Washington DC gave me the chance to visit two of the smaller museums in the Smithsonian – The National Portrait Gallery and the Smithsonian American Art Museum.

These two collections share a home in the Old Patent Office Building. The building originally opened in 1836 to house the U.S. Patent Office. It served as a hospital during the Civil War, and the Patent Office remained there until moving to a new home in 1932, and the Civil Service Commission and the Government Accounting Office moved in. By the 1950’s the Civil Service commission had moved out and GAO was planning its own new complex and in 1958 the building was transferred to the Smithsonian for use as an art museum. After a renovation, the National Portrait Gallery and the Smithsonian American Art Museum moved in.
By Wknight94 talk [GFDL (http://www.gnu.org/copyleft/fdl.html), from Wikimedia Commons
During the 1990’s it became clear that there was a need for major repairs, so in 2000 the museums were temporarily closed and the Old Patent Building was shut down. A six-year, total renovation began. The facades and porticos were restored, along with large galleries, tall windows and a block long skylight. The jewel of the redone building is the Kogod Courtyard. A wavy steel and glass canopy enclose the open center of the building, creating a space that is welcoming in all weather. People come from nearby offices and stores to eat lunch. Others use the space and the free WIFI to read, write and do research, or just to update their social media.
The Kogod Courtyard

The water feature in the courtyard

I came to the Old Patent Building because The Amazing Ms. D wanted to see the new portraits of Barak and Michelle Obama. I was more interested in the people coming to see them. Barak Obama’s portrait hangs in the Gallery of Presidents, along with those of the 43 men who served before him. Walking through the gallery, it was interesting to see how some of the presidents chose to be represented, especially during the 2nd half of the 20th century. Douglas Chandor painted Franklin Roosevelt at his desk, and included studies for FDR’s hands on the canvas. Elaine de Kooning presented a figurative expressionist view of John Kennedy. Chuck Close gave us a composite of abstract diamonds that he used to form Bill Clinton’s face. Barak Obama chose Kahinde Wiley, a 40-year-old African American artist for his portrait. He positioned Mr. Obama seated on a chair, in front of one of his iconic patterned backgrounds, in this case a large hedge. The painting is so popular that people line up between velvet ropes while waiting for opportunity to take a selfie in front of it.
Barak Obama by Khinde Wiley

JFK by Elaine de Kooning

Michelle Obama’s portrait does not hang near her husband’s. It is part of a permanent exhibition highlighting iconic people of the 20th and 21st centuries. This exhibit presents representations in painting, sculpture and photography of major cultural and political figures, arranged by the decades of their significance. In her portrait, created by 45-year-old Amy Sherald, an African American painter from Baltimore MD, Michelle Obama sits in front of a plain blue-gray background. The colors are all softened, looking a little washed out, as is Sherald’s style. Obama’s portrait hangs next to an imposing representation of Toni Morrison painted by Robert McCurdy, and together they command the room.
Michelle Obama by Amy Sherald

We also stopped to Unseen: Our Past in a New Light, Ken Gonzalez-Day and Titus Kephar. The exhibit’s aim was to expose the hidden nature of African-American’s in the history of the United States. I was particularly taken by Titus Kephar’s work. He has literally played with our view of historic images, hiding one behind another, to show this absence and presence. The one that I found most striking was “Behind the Myth of Benevolence.” Here Kephar has pulled aside a portrait of Thomas Jefferson to reveal one of Sally Hemmings.

Sometimes the crowds and size of the large museums of the Smithsonian can be overwhelming. It is good to remember that there are choices that are not as well know, but that offer art that is just as good, and very thought provoking. It is worth it to leave the Mall and head to some of these smaller museums.

1 comment:

  1. I was totally taken with the Obamas' portraits, as I expected to be. I was surprised that they hung in totally different parts of the museum but it makes absolute sense that he should hang with the other presidents and she should with notable Americans. Although they are close as a couple, I think of them as contributing very differently to American culture and each was impressive on his/her own. But the painting you featured last, the Jefferson/Hemmings piece was the most impressive and awe-inspiring to me. This artist so captured the racist/sexist/classist nature of relationships during that time in American history. Yes, it is an impressive study of the relationship of these two people but it is also a metaphor for the relationships between many black women and their masters. It is a monumental statement and done in such an imaginative way. Cudos to Mr. Kephar. It isn't easy to come up with an iconic image that will stay in many people's minds for a long time.