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Luce Design: Five Questions with Street Artist DECOY
June 24, 2014


It's officially summer! And that means the return of Luce Design, a series of talks in the Luce Foundation Center hosting various types of designers and keen eyes throughout the city. We've featured local experts in the areas of fashion, jewelry, interior design, landscape architecture, and even letterpress. This year, we continue to mix things up with street artist Alicia DECOY Cosnahan, confectioner Meg Murray, and knitwear designer Tanis Gray.

On Wednesday, June 25th, local artist Alicia DECOY Cosnahan will discuss D.C. murals and her personal experiences as a street artist. DECOY has developed works of public art throughout Washington, D.C., as well as projects and non-traditional interactions with her audiences through mural jams and hands-on workshops. Eye Level got even more scoop on DECOY and her upcoming talk to kick off this summer's Luce Design series.

Decoy

Street artist Alicia DECOY Cosnahan (center) with volunteers in front of the John Phillip Sousa mural in Southeast D.C. Photo by Teri Rosina Memolo

Eye Level: Can you tell us a bit more about the origin and creation of one of your many murals in Washington, D.C.?

Alicia DECOY Cosnahan: One of the most enjoyable murals to create was the John Phillip Sousa mural on 15th and Pennsylvania Ave SE, D.C. That summer I really got to interact with the neighborhood, either by chatting with pedestrians or painting with the kids from the area. It was really interesting to learn all about Sousa's life and really connect his history with The Hill and D.C. One really fun part of that wall was that we had a mustache design contest where people from the neighborhood designed facial hair for different characters on the wall, and thirteen were picked and used.

EL: You've also participated in mural jams! What are they, and how can someone participate or find out more?

DECOY: A mural jam is just a planned day of painting, music, friends and family all out creating and having a good time. These are really amazing days where you can see such a variety of styles and artists painting all at one time. Some people come out with groups and have planned productions, or some artists come out alone and do their own thing. How you can participate kind of depends on the Jam and amount of wall space, etc. Some Jams are invite only, some are totally open to anyone and space is given out on a first come basis. We usually have about two big Jams a year in D.C.

EL: In the spirit of merging your experience with street art for a talk inside of an art museum, here's a two part question. First, What is your favorite piece of street art in D.C.?

DECOY: I have a few favorite pieces of art on the streets of D.C. Sometimes I hate to say where they are, in fear that someone would go and remove it, but... there is an amazing metal welded STER piece that has lived in Northwest D.C. around U Street for years now. I love that piece. The Coffee Headed Duck painted wood cut out on Dan's [Cafe] in Adams Morgan. The Gator on the roll down in Northeast D.C. on Rhode Island Avenue.

EL: Second question: What is your favorite artwork in a D.C. museum?

DECOY: Oh my, let's see— I love to visit the Phillips Collection and see the Rothkos and the Paul Klees. At the Hirshhorn, I love to visit the Francis Bacons. At the National Gallery of Art, I love to visit Lichtenstein, Picasso, Calder...

EL: Where else do you get inspiration in the city?

DECOY: I get inspiration from the people of D.C. and the interactions and experiences I have with them. Whether they be kids from the neighborhoods or other artists I know painting in the city.

EL: What can we expect from your upcoming talk in the Luce Center?

DECOY: I will be speaking about how my art and personal style has allowed me to improve public spaces and engage with communities. I will present multiple examples from stickers and posters to large scale murals and interactive events.

Hear from DECOY yourself this Wednesday in the Luce Center, and mark your calendars for the other upcoming Luce Design programs on July 31st and August 23rd. See you this summer!

Posted by Erin on June 24, 2014 in Five Question Interviews, In This Case: Luce Foundation Center
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In this Case: Nam June Paik Archive
June 19, 2014


Nam June Paik

Objects from our Nam June Paik Archive now on display at the Luce Foundation Center

If you've been following Eye Level for a while, you won't be surprised to know we love Nam June Paik. We celebrate his birthday every summer and held a comprehensive exhibition of more than 60 of his artworks, some of which were on public view for the first time. This month, we completed the installation of the Paik Archive case in the Luce Foundation Center. If you were able to see the exhibition you might remember some of these pieces from our Paik archive wall, including the sitting red Buddha and four martial arts figurines.

The archive, which the American Art Museum acquired in 2009, contains more than 10,000 objects and 55 linear feet of books and papers. So how did we choose what to feature in only one case in the Luce Center? A team made up of members from the curatorial, collections management, and exhibition staffs culled through the objects to select pieces that are representative of the archive, keeping in mind how the objects and papers provide insight into Paik's art and ideas. We've included an Untitled (robot) which we've affectionately nicknamed Paikbot, to show Paik's interest in humanizing technology. There's also an elaborate painted wood and metal bird cage. Paik collected bird cages, like this one to use in pieces about his friend, teacher, and avant-garde composer John Cage. Paintings might not initially come to mind when thinking about the work of Nam June Paik, but he did paint throughout his career. We hung one of his untitled paintings of two figures resembling robots in this case and it appropriately illustrates his minimalist esthetic and provides a nice complement to Paikbot, which sits on a small shelf below.

One last note: Paikbot's on Twitter! If you are too, follow him to receive regular updates about the Luce Center, our programs, and Nam June Paik-related items.

Posted by Bridget on June 19, 2014 in American Art Here, American Art Research, In This Case: Luce Foundation Center
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A Window into the Lives of Artists’ Models
June 17, 2014


Recently, the Smithsonian's Archives of American Art opened an exhibition of archival photographs and documents dedicated to the untold stories of artists' models. Elizabeth Botten, who curated the exhibition, Artists and Their Models, points out that models are "too often given short shrift in art history, their names and stories left unknown unless their fame came by way of scandal."

Oakley

Violet Oakley's The Divine Comedy of Dante Alighieri (Click on image for larger view.)

In addition to giving these overlooked mortal muses their due, the exhibition highlights some of the many delightful compliments that researchers can discover between the Archives' collections and the works found in the American Art Museum. One example comes in the form of photographs and records from the Papers of Violet Oakley in the Archives of American Art. Oakley was a Philadelphia-based artist known for her murals and stained glass window designs.

The Smithsonian American Art Museum holds dozens of Oakley's studies and works on paper, as well as a scale model of her stained glass masterpiece The Divine Comedy of Dante Alighieri, commonly known as the "Dante Window." This stained glass window was commissioned by the publisher Robert Collier for the library of his private New York residence. Taken together, the museum objects and archival documents present a fuller picture of how Oakley composed her prize-winning stained glass window (now owned by the Apostolic Nunciature of the Holy See to the United States).

The "Dante Window" features three panels depicting the Inferno, Purgatorio, and Paradiso, with figures enacting twelve key moments from the literary text. Among the Violet Oakley papers are photographs of model Mills Thompson posing in Renaissance costumes, which Oakley used for reference when rendering her design. In an in-depth post on the Archives of American Art Blog, "Models and the Making of Violet Oakley's Dante Window", Botten uses the archival documents and photographs to introduce us to Thompson, who was an illustrator and artist in his own right. Learning a bit more about Thompson, and seeing the source materials that Oakley left behind, leaves us not just with a sense of the artist's process, but also helps reveal the social circle in which she moved.

The exhibition Artists and Their Models is on view until August 27, 2014 in the Fleischman Gallery, on the first floor of the Donald W. Reynolds Center for American Art and Portraiture in Washington, D.C. There will be two free gallery talks in the space, June 20 at 4:30 p.m. and July 11 at 1:00 p.m. The June 20 gallery talk will precede Drawing at Dusk!, an American Art Museum program offering the opportunity to sketch from a live model in the Luce Foundation Center.

Posted by Sara on June 17, 2014 in American Art Elsewhere, American Art Here, American Art Research
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Fathers and Sons: Ralph and Marc Fasanella
June 13, 2014


In honor of Father's Day and in celebration of the exhibition Ralph Fasanella: Lest We Forget, Eye Level asked the artist's son, Marc Fasanella, about his father's work, life, and legacy. Take a look at Fasanella's other artworks in American Art's exhibition.

Fasanella

Left: Ralph Fasanella in his studio painting Marc's World, about on his son. Right: Marc's World by Ralph Fasanella. (Click on images for larger view.) Both images courtesy of Marc Fasanella.

Eye Level: As we celebrate the exhibition Ralph Fasanella: Lest We Forget, as well as the 100th anniversary of your father's birth, what do you see as your father's strongest legacy?

Marc Fasanella: I believe he will be remembered foremost for his large political canvases. He chronicled many of the seminal events of his lifetime: the struggle for a living wage and an eight-hour workday, the cold war, the execution of the Rosenbergs, the assassination of John F. Kennedy, the sexual revolution, Watergate, and the collapse of the Soviet Union. As a self-taught painter he created imagery in an articulate, sophisticated, inventive and unique way. Since he taught himself painting he was constantly trying to master the mathematical perspective discovered by Renaissance painters. As a result his best canvasses have several perspectives and modes of scale, creatively unified through the application of sophisticated color choice, texture, and visual metaphor. He was this incredible combination of outwardly working class and inwardly deep intellectual.

EL: Marc, you're a professor of ecological art, architecture and design at Stony Brook University as well as a curator; are you also a painter?

MF: Although my feet are larger than his were, his were awfully large shoes to fill and I never tried. When I studied art, architecture, and design in college I picked up a brush a few times but I could tell I didn't feel the passion for that form of communication in the way my father did. He didn't "know" how to paint. He painted because he was compelled to. He couldn't stop the ideas swimming in his head from exiting through his fingers. My father was a passionate guy and he poured out that passion in many ways, but once he began painting that was his primary form of release.

I inherited his passion for politics and a life of the mind but my strengths lie in being able to articulate the ideas that swim in my head verbally, in writing, and in carefully constructed installations. I also have a nearly obsessive need to use my hands. And the creativity that my father imbued me with has led me to try to balance a life of working with my mind, in the earth, and with wood.

EL: Since we're celebrating Father's Day today, how do you best remember your father?

MF: My father was an exceptional guy. My mother always said that if he got on a crowded elevator by the time he reached the fifth floor he knew everyone in the car and would most likely keep in contact over time with at least one of the people he met. You could put him in any situation and in any environment and he would find a way to talk to people. With workers there was an instant bond. They could tell he was one of them: a guy with dirty fingernails, a pock marked face, jiving sense of humor, and deep empathy and appreciation for the work they were doing. He wanted to know their story, to figure them out. He could talk to them for the briefest of moments and make them think, chuckle, share in his thoughts or he in theirs. He could live with all of them, invited them out for coffee or to share a cigarette. He could meet someone at a luncheonette and spend the entire day talking to and sketching them obsessively.

He was also smart, well-read and articulate in an old school New York way. One of his many intellectual friends was a history professor with a PhD from the University of Chicago. They would spend entire days at a local diner discussing history and progressive politics, sometimes joined by other professional intellectuals. His duality (working class empathies and "elite" intellectual depth) have pervaded my life and caused me quite a bit of existential angst over the years. I pursued the life of an academic but have always worked and thought as a blue-collar guy as well. It took me up until my mid-forties to feel fully comfortable in my skin and to understand the strength that lies in being able to fully empathize from both a working class and elite perspective. I have much to thank him for in that.

EL: Did you two have any father and son rituals such as going to a museum, a ballpark, or the movies together?

MF: From my earliest recollection I think of my father treating me as a full equal. To him I was a guy to knock around with and explore the world, discuss politics, and appreciate life. When I was a young, on a day off he would take me to his gas station, to the Fulton Fish Market, to his sister's apartment for food and conversation, to textile mills in Lawrence, Massachusetts and treat me as a completely normal part of his everyday life. The two of us often ate meals together (I cooked, even as a kid), played cards, and did what most people would describe as "hung out." We wouldn't do anything special as a ritual but he was profoundly present as a father every moment I was with him.

As long as I can remember he called me "old man" and would ask my opinion on truly important matters perplexing him, taking my suggestions at full value. When he had to admonish me he would appeal to my reason and often end with "you're smarter than that old man." Of course there were times we disagreed but even if he threw a string of expletives (an object only once) at me, I knew they were propelled by love.

EL: He wore many hats and worked many jobs before devoting himself to painting full time? What do you remember about this time?

MF: My father tried his hand in his father's footsteps as an iceman with a route in New Rochelle, New York; as a truck driver; as a volunteer in the Spanish Civil War with the Abraham Lincoln Brigade; as a machinist's apprentice; a union organizer; and as a gas station owner. These experiences gave him a worldliness and a basic knowledge of how to use his hands I found impressive as a kid. But to me, my father was always a painter. I was born when he was fifty. I'm turning fifty in August and have a 14 year old son and an 18 year old daughter. I can't imagine embarking on fatherhood at my age. By the time I turned 14 he had sold the gas station and devoted himself full-time to painting.

EL: Did he have a studio in the house and were you and other family members welcome?

MF: I came of age in a home where my father was truly able to pursue his creative muse. Some days he would spend in deep intellectual conversation with a friend; some in search of inspiration at diners, union halls, or just "out in the world;" and many in his home based studio in the impassioned pursuit of a completed painting. I loved to watch him work, he kept a small bed in his studio and I often read, daydreamed or napped on that bed. He also had an old drafting table that he rarely used and by the time I reached college it was a place I could spread out my ideas and think a bit. He had a great ancient stereo on which he played both 78 and LP jazz and opera records. I loved that music! I still have and listen to his LP's.

When I became an accomplished carpenter in college he began to enlist me in the perpetual evolution of his studio. He collected references for all of his paintings. And between working on one series of paintings and another he would reorganize his materials and adapt the wide-ranging collage of references that covered the walls and surfaces of his studio.

I believe my sister spent much time in my father's studio when she was young. My mother would visit to admire and discuss whatever he was working on. But to me my father's studio was a sanctum where I could watch and marvel at the emotion and intelligence that poured out of him onto canvas.

EL: What artists did your father admire?

MF: My father collected art books and read widely about art. He was conversant about all of the impressionists in particular, but he was a devotee of Van Gogh. You can see that influence in the way he depicts skies and models the surface of his buildings. His early work had an incredibly deep impasto (paint thickness) but his mature work resembles Impressionist impasto. He was a profound admirer of Diego Rivera and loved other Mexican painters such as Zuniga. You can clearly see the influence of Rivera in my father's most dynamic political paintings.

EL: Did your father tell you stories about your grandfather who is depicted in many works as "The Iceman"?

MF: My father's relationship to his father is hard for me to fully understand; he was close to him, but as an observer. He depicted his father in several paintings as a man crucified, died having suffered as Christ has been depicted, long suffering, and little-understood. As a young boy my father rode on my grandfather's horse and wagon delivering ice to the many tenement dwellers to whom a refrigerator was a luxury they could not afford. He told me about the long days he would put in with his father walking up three or more flights of stairs with a large block of ice on his shoulder.

My father depicted his father to me as being a hard man who had a truly hard life. The marriage between my grandparents was also difficult and according to my father, since my grandmother was the intellectual superior, my grandfather would vent his frustrations with his marriage and his life upon his horse. From what my father told me my grandfather left his marriage, his children, and the United States a broken man. In the painting Family Supper there is an ice bucket in the lower left-hand corner on which is written "in memory of my father Joe - poor bastard died broke - and to all Joes who died same - broke"

EL: How do you want people to react when they view his work?

MF: Slow down, look intently (up close and from a few steps back), think in context, and find what is relevant to our time and to the human condition. Find what things he says in paint that outrage you, inspire you, enliven you, and what aspects of life you can celebrate and carry them forward.

EL: Your father is quoted as saying "paint could talk." In what ways do his paintings speak to you today?

MF: I have studied some of these canvases my entire life. Every time I look at one of my father's complex political paintings I see something new. His most accomplished works reveal to me the promise and perversions of America; the history of prejudice, oppression, and wage slavery; and the power of opposition. They also show hope, the struggle for a more egalitarian society, the beauty, poetry, emotional resonance of icons with unvarnished political imagery, and persuasive metaphor. I have a dialog with these works that propels me forward as a progressive academic: that moves me to engage in and advance the pressing environmental and social issues affecting the human condition today.

Posted by Howard on June 13, 2014 in American Art Elsewhere, American Art Here, Five Question Interviews
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Cleaning Roy Lichtenstein's Modern Head
June 9, 2014


Modern Head Cleaning

Our conservation staff cleans Roy Lichtenstein's Modern Head (Click on photos for larger view.) Photos © Estate of Roy Lichtenstein

American Art's conservation department makes sure our collection is always in great condition, inside our galleries and outside with a several sculptures that are on our museum grounds. Last week, it was Roy Lichtenstein's Modern Head that got the royal treatment. The sculpture, originally installed in New York's Battery Park in 1996, one block from the World Trade Center, was a gift from Jeffrey H. Loria (in loving memory of his sister, Harriet Loria Popowitz) to American Art in 2008. Before cleaning, it was assessed by conservators, then it was washed with a solution using Dawn® —yes, regular Dawn dishwashing liquid— to clean off normal city dirt and grime. And then it was rinsed.

Conservator Hugh Shockey states:

Dawn® is what we would call a broad spectrum detergent and is excellent at solubilizing a wide range of soiling types, from bird droppings to diesel exhaust soot. It is also environmentally safe since our rinse water ends up in the Potomac River and therefore the Chesapeake Bay.

Our conservation department specifically chooses solutions that are effective for cleaning and are safe for the art objects, people and the environment.

If you're in town, come by the southwest corner of American Art's building on F Street and 9th Street, NW. You'll be impressed!

Posted by Jeff on June 9, 2014 in American Art Here, Conservation at American Art
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