Art-o-Mat Swap Meet, Take 2
July 24, 2014
The American Art Museum will host its second Art-o-mat® swap meet on Saturday, July 26 in collaboration with Artists in Cellophane. Artists will gather in our Luce Foundation Center from all over the country for an afternoon of meet and greets, artist demoes, and artpak making. To appreciate an Art-o-mat®, read Eye Level's blog post from 2011, when the Luce Center received its own Art-o-mat®.
Participating artist Rachel Ourada recently took a break from getting ready for the trip to answer a few questions about her involvement with Art-o-mat®.
Eye Level: How long have you been an Art-o-mat® artist, and how did you become a participant and contributor?
Rachel Ourada: I've been an Art-o-mat® artist since 2012. My neighbor, Scott Blake, is an artist and fills the machines in Omaha, Nebraska. We met in 2012 when the city tore up a main street in our neighborhood. Thanks to the lack of traffic, we met and started talking. Scott helped me come up with my first Art-o-mat® prototype.
EL: What is involved from the beginning stages to the final stages of creating art for the Art-o-mat®?
RO: I work in several media on a regular basis, and this is reflected in my Art-o-mat® designs. My primary medium is the fabric button. I design my own fabric to create unique pieces of jewelry and accessories. For Art-o-mat®, I offer a menagerie of animal face earrings and colorful bike hairpins. Making fabric buttons takes lots of cutting, patience, and teeny tiny parts. I start every design digitally, and those designs are then transferred to fabric. It’s important to me that I use only my custom fabric. It is what sets me apart, and it allows me to create unusual designs that haven’t been seen before. I also do small runs of hand sculpted thumbs and tentacles. I like working with Sculpey. I love working with the bright colors, some of which glow in the dark. I accent these tiny sculptures with enamel paint and bits of chain. They aren’t functional; they are partially decorative and completely weird.
My background is in printmaking and making reproductions of original artwork. I have a handful of illustrations that I adhere to painted wooden blocks. I enjoy drawing skulls, and I have a few unique skull illustrations that I use for Art-o-mat®. When I make anything, Art-o-mat® or otherwise, my main objective is to create something unusual that has never been done before. My goal is to put a little bit of my personality into something someone will enjoy.
EL: What do you think of the Art-o-mat® machine as a creative outlet and option for artists such as yourself?
RO: I love working with Art-o-mat®. It has been a great venue for my work. I’ve received emails from people all over the country who got my art when they pulled the lever. I don’t know of anything else an artist could participate in that would give them the positive national exposure that I’ve received as an Art-o-mat artist. By being limited by the small size, it has really pushed me to think on a detailed level. You have a finite size (2 1/8 x 3 1/4 x 7/8 in.) to fill with creativity. You have the packaging and the placard to introduce yourself and your artwork. It’s a great opportunity to work inside and outside the box, literally and figuratively, at the same time. I always encourage other artists I meet to participate in Art-o-mat®. You get at least as much back as you put in. There aren’t many opportunities for artists that can promise the same. For customers, the experience can open them up to purchasing art and interacting with artists. Buying handmade things directly from an artist can be intimidating for some. What's less threatening than a vending machine?
EL: Why should visitors come to our Art-o-mat® Swap Meet on Saturday?
RO: How could you miss out on such a great opportunity to meet in person so many interesting artists? Nothing compares to finding a great piece of art and meeting the person behind it.
EL: Are you looking forward to meeting and swapping art with any particular Art-o-mat® artists?
RO: This is the first time that I’ve ever participated in an Art-o-mat® event. I’m looking forward to meeting as many Art-o-mat artists as I possibly can. I can’t wait to see what artwork I can add to my Art-o-mat® collection!
Join us at 1 p.m. on Saturday, July 26 at American Art's Luce Center for an afternoon of fun!
Q and Art: Just Looking
July 22, 2014
This post is part of an ongoing series on Eye Level: Q and Art, where American Art's Research department brings you interesting questions and answers about art and artists from our archive.
Question: In Edward Hopper's Cape Cod Morning, what is the woman looking at?
Answer: That's a great question. However, the answer is we don't know! The woman's gaze is fixed on a place that is beyond the border of the painting.
A 1955 TIME magazine article recorded the following conversation about Cape Cod Morning between Hopper and his wife, Jo:
"It's a woman looking out to see if the weather's good enough to hang out her wash," she explains. "Did I say that?" Hopper rumbles in contradiction, "You're making it Norman Rockwell. From my point of view, she's just looking out the window, just looking out the window."
Jo knew that Hopper did not want his paintings to tell specific stories. She may have made her comment to needle Hopper who was notoriously reticent with interviewers. Hopper's focus in the scene was the placement of the solitary figure within the window and the effect of strong sunlight on the figure and the house. Although Hopper insists that the woman in the painting is "just looking out the window", her attentive posture and confinement within the window infuses the scene with a tension that contradicts the impassive description of a woman simply looking out a window.
In 1953 Hopper wrote: "Great art is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world." Hopper avoided narratives, yet he strove express his "inner life" in his work. It is Hopper's emotion that makes Cape Cod Morning grab our attention, causes us to ask "what is she looking at?", and makes it a painting that is difficult to forget.
To learn more about Edward Hopper look for the following resources online and at your library.
- Edward Hopper and the Burden of (Un)Certainty, Clarice Smith Distinguished Lecture with Kevin Salatino, September 19, 2012
- Smithsonian American Art's An Edward Hopper Scrapbook
- Oral history interview with Edward Hopper, 1959 June 17, Archives of American Art, Smithsonian Institution
- Edward Hopper: The Art and the Artist by Gail Levin (New York: Norton with the Whitney Museum of American Art, 1980)
- "Gold for Gold", Time, May 30, 1955, pg. 72.
Hopper's Cape Cod Morning is part of the museum's exhibition Modern American Realism: The Sara Roby Foundation Collection on view in American Art's First Floor West gallery until August 17. Listen to museum director, Betsy Broun, discuss Cape Cod Morning, along with other artworks in the Roby Collection, in an recent interview with NPR. And, celebrate Edward Hopper's birthday today with us by taking a look at the American Art Museum's An Edward Hopper Scrapbook.
Just in time for the arrival of D.C. heat and humidity, we're bringing you our special Luce Unplugged Community Showcase, live from American Art's Luce Foundation Center this Friday, July 18th. By now you know the drill, but just as a refresher: the showcase will include a summer happy hour combination of music, art, air conditioning, and beer!
Eye Level: We're excited to provide live performances in the already unique museum space of the Luce Foundation Center. Have you ever performed in an "alternative" space before, or an interesting venue that you consider unique?
Chris Taylor: Over the years, we've played a lot of interesting venues, I'm constantly surprised by the resourcefulness and work ethic of kids around the country, all it takes is an outlet sometimes, and in some cases not even that! The first thing that comes to mind when you say "unique" is a show we played about five years ago in Billings Montana, the place is called "Yellowstone Perk." It's a coffee shop that was closed when we got there, but the show was outside in a sort of faux Old West ghost town movie-set-type setting. Behind the faux storefront buildings was a junkyard full of old cars of every make and model. By the time we played that night, there was a huge sky above us, and two people standing in front of the stage, we played every song we knew, and the owner let us camp in the junkyard. We stayed up all night telling ghost stories and talking about old times by the fire. It was magical, and by far the most memorable if not unique venue we've ever played!
EL: In the spirit of combining different forms of expression with a concert in an art museum, besides music, what other types of artistic expression inspire you?
CT: Mike Widman and I are both carpenters. The job has a creative element that I didn't expect when I first started doing it. You find yourself helping people make decisions about the place they will spend most their time in: home. They may see a million times something I've built. And something as subtle as working out where a window should go can really affect a person's day-to-day experience. I find that inspiring.
EL: Bands often offer pared-down sets of their music to sound best in the acoustics of the Luce Center, which you will be doing on Friday! You typically perform your "noisy punk rock" as you put it, so what can we look forward to with this different type of set from Pygmy Lush?
CT: Well, we've done some pared-down sets in the past, usually by necessity. This one is exciting to me because Johnny Ward will be performing with us. He has always been a strong creative force behind the subdued side of Pygmy Lush. And it's a pleasure to indulge in our friendship and chemistry with him, if even for just a little bit. He brings the wanderer out of us.
EL: Is it true you are writing a song specifically for the upcoming Luce Unplugged performance?
CT: That is the intent, we'll see where it goes!
Join us on Friday, July 18th to find out! Everything starts at 6:00 p.m., so come beat the heat and get here early to enjoy both bands.
Five Questions with Michael Maglaras, Director of The Great Confusion: The 1913 Armory Show
July 15, 2014
On July 16th, the American Art Museum welcomes writer and director Michael Maglaras, who will introduce his documentary, The Great Confusion: The 1913 Armory Show. The film examines the New York exhibition that exposed Americans to modern art by Cézanne, Renoir, van Gogh, and Duchamp, as well works by Americans such as Hartley, Marin, and Sheeler. A special pre-screening tour of the American Art collection, highlighting works by artists who were in the Armory Show, meets in the G St. lobby at 5:30 p.m. The film begins in the McEvoy Auditorium at 6:30 p.m. A light reception will follow the screening and Q&A. Additional details for this event can be found on our museum's calendar. Program Coordinator Alli Jessing discussed the film and the impact of the Armory show with Michael Maglaras for Eye Level.
Eye Level: Of the artists featured in the 1913 show, do you have a favorite artist or artwork?
Michael Maglaras: This is a tough one; with as many as 1,300 works there was much to choose from, and much of it of exceptional quality. I have a soft spot for the painting Family Group by William Glackens, which we feature prominently in the film. Glackens is a singular artist, and it seems to me that this painting has one foot planted firmly in the legacy of 19th century painting, with its particular elegance of spirit (look at the line of the leg leading to the end of his daughter's shoe on the left side of the canvas) and the other foot planted firmly in the 20th century with Glackens' Fauvist-like use of color. It is really a masterpiece of its kind.
EL: The 1913 Armory was quite a pivotal one, and introduced American audiences to a more experimental style. Tell us a little about how the critics and audiences reacted to this unfamiliar visual style.
MM: The reaction was a surprising combination of delight and disgust. The press, of course, had a field day reporting about the varied reactions of the public to the works of Matisse, Gleizes, Duchamp, and others. And it became a kind of social and, for its time, important media event. The public came in droves: 4,000 on the first day and 12,000 on the last. It would be difficult to imagine a reaction today more varied and more provocative at the most basic level than the reaction provoked by the Armory Show in 1913. Of course, the evidence is clear that in 1913 we held strong views about what we liked and didn't about art, and the debate then, pro and con, about Modernism, was seldom tinged by the kind of political correctness we sometimes exhibit today. Three months after the close of the Armory Show, in May of 1913, at the premiere of Igor Stravinsky's The Rite of Spring in Paris, fistfights broke out before the orchestra had finished playing the first page of the score.
Many who came to see the work in the Amory Show had their views changed about what art is and what it should mean to us. In 2014, the way we look at what hangs on a wall, how we perceive its value, whether it speaks to us on multiple levels, and the role of the artist in our society, are all ideas that are a result of the 27 days that the public flocked to the Armory Show in New York.
EL: When you visit an art museum, what kinds of works do you gravitate towards?
MM: I've made five films about American Modernism, and I have to confess that if a museum has works by American painters who were active from about 1900 through the 1950s, I'm immediately drawn to whatever is in that collection. John Marin, for example, is in my view the undisputed poet of American Modernist painting. Whenever I encounter a Marin, all I do is simply stand there and smile at the sheer joy that his work represents to me.
EL: Marcel Duchamp's painting Nude Descending a Staircase (No. 2) famously caused some furor during the show. What were some of the other controversial artworks, and what about them caused such an upset?
MM: Everything in Gallery I, where most of the Cubist work was hung (it was called by the press the "Chamber of Horrors") caused an immediate controversy. From the standpoint of sheer geography, Gallery I was hidden away in the upper left-hand corner of the armory space, and if you had been strolling through the galleries in no particular order, coming upon the contents of that gallery would have taken you completely by surprise. Several works by Matisse hung in Gallery H, including his exquisitely delicious Blue Nude of 1907, which Kenneth Clark called the first painting of the modern era. If you actually made your way through the Armory Show galleries alphabetically (they started with A, B, etc., and ended with the letter R) you would, of necessity, have had an intimate encounter with Blue Nude. Nothing like it had ever been seen before in America by so many people in such a brief span of time. The reaction of the public to the painters of French Modernism was only what it could have been in 1913: a complete shock.
EL: Are you working on any new film projects at the moment?
MM: Our next film is now in production. It's entitled Enough to Live On: The Art of the WPA. This film is in honor of the 80th anniversary of the Federal Art Project of the WPA. As we travel the country deciding which art to use —individual paintings, murals, sculpture— we discover that this will be a film full of surprises: surprises about the overwhelming quality of some of the work, how much of it was created under the auspices of the federal government, and how the making of art was used by Franklin Roosevelt's administration as a tool to reinvigorate our national spirit at a time of national depression.
For additional information about the 1913 Armory Show and to view original source material from that exhibition, take a look at the Smithsonian Archives of American Art's website: 1913 Armory Show: The Story in Primary Resources.
New Acquisitions: Purvis Young's The Struggle
July 9, 2014
American Art's curator of folk and self-taught art, Leslie Umberger, talks about the museum's recent acquisition of a major painting by Purvis Young, The Struggle. The artwork can be seen in the museum's east wing gallery on the third floor.
The Struggle, was done between 1973-74 by Purvis Young, who lived and worked in Miami until his death in 2010. Around 1971, Young began transforming an alley in his Miami neighborhood into a large-scale mural project. Goodbread Alley, as it was called, was by then, comprised of store fronts that had been condemned and boarded up by the city as part of rolling urban renewal project. It was in an area of Miami called Overtown, a neighborhood that has once been a thriving immigrant community but had since become a dangerous area plagued by poverty and crime.
During a stint in prison for robbery, Young had reflected on the direction of his life and become troubled by the plight of his community; he became very inspired by the African American activist murals in Detroit and Chicago. So, when he was released, he began making a mural of his own, knowing full well that the structures along the alley he was using as his canvas did not belong to him and would one day be demolished.
Between 1971 and 1974, Young focused on this mural. His subjects celebrated and historicized the neighborhood that he had spent his entire life in and although they charted struggle, they always contained an undercurrent of hope for a better future.
He became a local celebrity and the alley became a tourist attraction until its demise. At that point, some of the work was sold, some was scavenged, some went to dealers, and some was destroyed. And Young continued to paint in various studio settings for the next 3 1/2 decades, but the work made on site in Goodbread Alley is widely regarded as his most powerful; it is also the rarest.
The Struggle, is iconic of Young's themes of challenges and persistence. It is comprised not only of the major center panel showing interracial strife and the trials of immigrant life in a depressed area, but is bordered by a number of smaller, individually dated, paintings that offer a lyric balance to the core fight of life through abstracted figures shown working, dancing, singing, swimming, fighting, finding their way, trying to move up and on in the world, and holding up their arms in a show of unity.