Smithsonian Institution Newsdesk

National Portrait Gallery and the Archives of American Art Present “Felix Gonzalez-Torres: Always to Return”

AnciraS — Thu, 11 Jul 2024 12:59:00 +0000

The Smithsonian’s National Portrait Gallery and Archives of American Art will present “Felix Gonzalez-Torres: Always to Return,” the largest presentation of the artist’s work in Washington, D.C., in 30 years. With no formal start or end point, “Felix Gonzalez-Torres: Always to Return” unfolds at the intersection of Gonzalez-Torres’ groundbreaking engagement with portraiture, the context of two Smithsonian collections and the historically significant setting of Washington. The exhibition is co-curated by Josh T Franco, head of collecting at the Archives of American Art, and Charlotte Ickes, curator of time-based media art and special projects at the National Portrait Gallery, and it will be on view Oct. 18 through July 6, 2025. A press preview with the co-curators will be held Thursday, Oct. 17.

Focusing on the artist’s deep engagement with portraiture, historiography and the construction of identity, “Felix Gonzalez-Torres: Always to Return” will present a broad array of significant works by the artist alongside other portraits at the National Portrait Gallery and Archives of American Art (also home to the Felix Gonzalez-Torres Correspondence Archive) and at other downtown locations. While considered one installation, the artist’s light-string work “Untitled” (America) (1994) will be on view across three locations: the facade of the Old Patent Office Building, which houses the Portrait Gallery and Archives of American Art’s Lawrence A. Fleischman Gallery; outdoors along Eighth Street N.W. near the museum, in partnership with the Downtown BID; and on the first floor of the Martin Luther King Jr. Memorial Library of the District of Columbia Public Library.

Gonzalez-Torres (1957–1996) was born in Guáimaro, Cuba, and lived primarily in New York, as well as in Madrid; San Juan, Puerto Rico; Los Angeles; and Miami, where he died from AIDS-related causes. In the 1980s and 1990s, he rose to prominence to become one of the most influential artists of the 20th century. Posthumously, he represented the United States at the 2007 Venice Biennale. Gonzalez-Torres broadened the horizon of portraiture beyond a genre associated with static representations of individuals. The artist created frameworks that could foster questioning about how people perceive themselves, how those understandings are fluid and how people are fundamentally entangled with a changing world.

Through forms, processes and materials not always associated with portraiture, Gonzalez-Torres’ approach to the genre highlights the complexities of identity, representation and how history is made and by whom it is told. For example, the artist’s word portraits physically manifest as a list of events and corresponding dates installed directly onto a wall at “frieze height.” To make these works, the artist asked the subjects of the portraits to share formative events and dates that shaped their lives. Gonzalez-Torres then edited this list, rewording, rearranging, deleting and incorporating additional events and dates to create the initial version of the portrait. Gonzalez-Torres intended for owners of these works to create new versions on an ongoing basis, allowing the portraits to be responsive and exist in multiple versions across time and space. In the artist’s words, “We are not what we think we are, but rather a compilation of texts. A compilation of histories, past present and future, always, always, shifting, adding, subtracting, gaining.” On view will be three portraits from this remarkable body of work: “Untitled” (1989), “Untitled” (Portrait of Robert Vifian) (1993) and “Untitled” (Portrait of MOCA) (1994). Each work’s owner granted the co-curators the right to make new versions for this exhibition. Including these, “Untitled” (1989) has accumulated over 40 versions, all of which are the work.

Also on view and exemplary of the artist’s conception of portraits that evolve across time and space will be “Untitled” (Portrait of Dad) (1991) and “Untitled” (Portrait of Ross in L.A.) (1991). While these two works have ideal weights of 175 pounds, each can be installed in different configurations with an endless supply of candy sourced by the museum. Visitors can choose to take and consume the sweets, shifting the relationship between portrait subject and viewer. Throughout the exhibition, these works will change if visitors choose to interact with them and as museum staff fulfill their rights and responsibilities to make decisions about maintenance, replenishment, configuration and location. Other non-figurative works by Gonzalez-Torres will be in conversation with traditional likenesses of historical figures, such as Ronald Reagan, Theodore Roosevelt, Gertrude Stein, Walt Whitman and others in the Portrait Gallery’s collection.

On view in the Archives of American Art’s Lawrence A. Fleischman Gallery will be artworks and correspondence that animate the artist’s relationship to appropriation, source material and the photographic medium. For the first time in the United States, and only the second time internationally, the ‘complete set of individual puzzles’ consisting of all 55 of the artist’s editioned puzzle works, created from 1987 to 1992, will be on view. Alongside the puzzles will be correspondence between the artist and friends and curators, including snapshots, which the artist often mailed to recipients with notes inscribed on the back.

“Felix Gonzalez-Torres: Always to Return” will feature loans from major institutions, including the Art Institute of Chicago, the Museum of Modern Art in New York, the Museum of Contemporary Art in Los Angeles, the San Francisco Museum of Modern Art and the Whitney Museum of American Art in New York. The exhibition will be accompanied by two publications.

“Felix Gonzalez-Torres: Always to Return” is presented with generous support from the Fisher Arts Impact Fund and the Latino Initiatives Pool. For more information on the presenting institutions, visit the websites of the Archives of American Art and National Portrait Gallery.

To RSVP to the press preview Thursday, Oct. 17, email obusekge@si.edu.

Note to editors: For more information on the exhibition’s two accompanying publications, reference the publication fact sheet.

Archives of American Art

The Archives of American Art is the world’s preeminent research center dedicated to collecting, preserving and providing access to primary sources that document the history of the visual arts in America. Connect with the archives at aaa.si.edu and on Facebook, Instagram, X and YouTube.

National Portrait Gallery

The Smithsonian’s National Portrait Gallery tells the multifaceted story of the United States through the individuals who have shaped American culture. Spanning the visual arts, performing arts and new media, the Portrait Gallery portrays poets and presidents, visionaries and villains, actors and activists whose lives tell the nation’s story.

The National Portrait Gallery is located at Eighth and G streets N.W., Washington, D.C. Smithsonian Information: 202-633-1000. Connect with the museum at npg.si.edu and on Facebook, Instagram, X and YouTube.

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National Museum of the American Latino Kicks Off Annual Community-Conscious Leadership Practicum

AnciraS — Wed, 10 Jul 2024 13:29:00 +0000

The Smithsonian’s National Museum of the American Latino has announced that 21 college-bound high school seniors have participated in its Young Ambassadors Program (YAP) during Washington Week, June 23–29. YAP is an annual summer program supported by Ford Philanthropy that fosters the next generation of community-conscious leaders in the arts, sciences and humanities. From July 8 to Aug. 2, the young ambassadors will travel to one of 19 Smithsonian partner or affiliate museums across the United States to complete community-centered practicums.

“We’re excited to welcome and introduce this new cohort of exceptional students to the Smithsonian and the National Museum of the American Latino,” said Jorge Zamanillo, director of the museum. “Thanks to Ford, these young ambassadors will expand their horizons and enrich communities nationwide.”

The five-week program began with Washington Week, a weeklong seminar at the Smithsonian in Washington, D.C., where young ambassadors met curators, collections managers and other experts for a behind-the-scenes look at museum operations and the Institution’s growing Latino collections. This year’s program focused on how representation, technology and sustainability shape our shared future. Recordings of select programs will be available on the museum’s YouTube channel.

During the community-centered practicum, the ambassadors will work and learn alongside museum professionals supporting education and outreach programs throughout the contiguous United States and Puerto Rico. In 2024, YAP will place ambassadors at museums in San Diego; Kansas City, Missouri; Charlotte, North Carolina; and Portland, Oregon, to advance the Smithsonian’s commitment to reaching rural and underrepresented communities.

At the end of the practicum, the young ambassadors will join the YAP Alumni Network, which aims to transform high school graduates into college-educated professionals poised for success and community-centered leadership throughout their careers. The network offers alumni continuing education and professional development opportunities and fosters local community engagement.

Ford Philanthropy has supported YAP since 2008, allowing students to develop and use their leadership skills and knowledge in their communities.

About the National Museum of the American Latino

The Smithsonian’s National Museum of the American was established by Congress in 2020 to advance the representation, understanding and appreciation of Latino history and culture in the United States. The museum operates the Smithsonian’s first exhibition space dedicated to the Latino experience, the Molina Family Latino Gallery, at the National Museum of American History. The American Latino Museum also expands scholarly research, public programs, digital content, collections and more. Connect with the museum at latino.si.edu and follow @USLatinoMuseum on Facebook, Instagram and X.

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Public Programs

National Portrait Gallery Names Diana Movius Its Next Choreographer-in-Residence

AnciraS — Tue, 09 Jul 2024 18:45:00 +0000

The Smithsonian’s National Portrait Gallery has announced Diana Movius as the museum’s next choreographer-in-residence. During the 18 month residency, Movius will create new works inspired by the Portrait Gallery’s collection and exhibitions. The new dances will be performed by the Washington, D.C.-based Moveius Contemporary Ballet in the museum’s Robert and Arlene Kogod Courtyard. Movius will also participate in public discussions about art and dance.

The residency will launch with a world premiere of “Seasons” inspired by Rachel Carson whose portrait is in the museum’s “Forces of Nature: Voices That Shape Environmentalism” exhibition (on view through Sept. 2). Set to a modern musical rendition of Vivaldi’s “The Four Seasons,” the new ballet contemplates Carson’s transformative book Silent Spring and her love of birds. The program will also include “Apocrita,” an athletic and energizing ballet that pays homage to biologist Edward O. Wilson and the fascinating and often overlooked lives of ants, wasps, and bees. The performance will take place July 21 at 4 p.m.

“I’m thrilled to collaborate deeply with the National Portrait Gallery as the next Choreographer in Residence,” Movius said. “The upcoming exhibits are exciting and reflect the types of timely issues that inspire my dance works. The Kogod Courtyard is such a fantastic venue for dance performances—it’s large and striking with an outdoor feel yet fosters closeness to the audience.”

Movius is an environmental expert who addresses critical issues through choreography. Movius lived and worked in the Peruvian Amazon rainforest from 2005 to 2006 while earning her master’s in environmental anthropology from Stanford University. From 2007 to 2023, she worked at leading climate-change think tanks and policy shops in Washington, influencing U.S. and international negotiations on ambitious climate and rainforest policy while building her professional dance company.

In 2010, Movius established Moveius Contemporary Ballet and is the artistic director of the dance company. The company tackles big ideas pertaining to environmental and economic justice through choreography. Its performance season highlights choreography by local women, BIPOC and LGBTQ+ choreographers and the city-wide dance community. Most recently, Movius collaborated with the National Portrait Gallery in April 2024 to honor Earth Day with a performance of “GLACIER: A Climate Change Ballet” at the museum. Movius is also the founder of the Dance Loft on 14, a theater and dance center in Washington’s Petworth neighborhood, dedicated to providing affordable studio space and dance education to Washington arts professionals and the local community.

Movius is the Portrait Gallery’s second choreographer-in-residence. In 2016, the Portrait Gallery established the first residency of its kind for the Smithsonian with fellow Washington-based choreographer Dana Tai Soon Burgess. Burgess and his namesake dance company developed eight commissioned performances during his residency: “Margin” (2016); “After 1001 Nights” (2017); “I Am Vertical” (2017); “Silhouettes” (2018); “A Tribute to Marian Anderson” (2020); a suite of three duets “El Jaleo,” “Egyptian Woman” and “Madame X” (2020); “El Muro/The Wall” (2022); and “A Tribute to Maya Lin” (2023).

National Portrait Gallery

The National Portrait Gallery is located at Eighth and G streets N.W., Washington, D.C. Smithsonian Information: (202) 633-1000. Connect with the museum at npg.si.edu and on Facebook, Instagram, X and YouTube.

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Administrative News

Restored Oyster Sanctuaries Host More Marine Life

AnciraS — Tue, 09 Jul 2024 18:15:00 +0000

In the campaign to restore Chesapeake Bay, oyster sanctuaries rank among the most hotly contested strategies. But new research suggests these no-harvest areas are working, and not only for the oysters. In a new study published July 4 in Marine Ecology Progress Series, Smithsonian biologists discovered oyster sanctuaries contain more abundant populations of oysters and other animal life—and the presence of two common parasites is not preventing that.

Oysters form the backbone of Chesapeake Bay. Besides injecting millions of dollars into the regional economy each year, they also act as vital habitat and filter feeders that clean the water. But their populations have dwindled to roughly 1% of historic levels. Disease, overharvesting, habitat loss and pollution have all whittled down their numbers.

Over the past two decades, Maryland and Virginia have worked to restore their oysters by creating vast networks of sanctuaries where oysters are protected from harvest. This has led to a rebound of oyster growth, habitat quality and biodiversity within the sanctuaries, the new study reported.

“The sanctuary programs appear to be working and facilitating oyster reef regrowth after so many decades of overharvesting,” said lead author Zofia Anchondo, who did the research as part of her graduate fellowship with the Smithsonian Environmental Research Center and the University of North Carolina at Chapel Hill.

But at the same time, the resurgence in marine life went hand in hand with a rise in oyster parasites. The study looked at two parasites in particular: the boring sponge and the mud blister worm. Boring sponges drill holes through oyster shells to find shelter. Blister worms form U-shaped burrows inside the shells. The presence of either can render oysters unsightly or even unmarketable. Both are considered likely native to the bay, and neither are harmful to people. For this study, the researchers did not look at dermo or MSX, two non-native parasites responsible for some of the worst oyster crashes, though they collected data for a follow-up study.

Parasitism is the most common lifestyle on Earth, so a parasite’s presence is not necessarily a sign that the environment is out of joint, the authors pointed out.

“Parasites have been ignored as an important component of biodiversity,” said Allison Tracy, a co-author from the University of Maryland, Baltimore County and the University of Maryland School of Medicine. “But they’re a natural part of ecosystems….The way ecosystems naturally function depends on parasite effects.”

“They’re not preventing high oyster densities,” said Matt Ogburn, a co-author and senior scientist with the Smithsonian Environmental Research Center. They may even be good for the oysters’ long-term evolution, Ogburn added, though that question needs more definitive research. “Restoring the oyster reefs is likely to be helping the oyster population become more resilient to the parasites that are out there now, compared to what would be possible if everything was harvested all the time.”

The new study focused on three Chesapeake tributaries: the Choptank River, the Great Wicomico River and the James River. Each had its own oyster sanctuary and another harvest area for comparison, where watermen and -women could freely catch oysters. The scientists used footage from underwater GoPro cameras to give each reef a habitat “score” (one through four, based on the percentage of oyster cover and vertical structure). The GoPro videos also enabled them to record other animals visiting the oyster reefs. Working under state research permits, divers later collected some of the oysters from each reef to estimate oyster density and search for parasites.

Overall, oysters fared better in the sanctuaries. All three tributaries had higher densities of legal, harvest-sized oysters in their sanctuaries than in their harvest sites. In two tributaries—the James and Great Wicomico rivers—oysters of all sizes, including juveniles and baby oysters, were more abundant in the sanctuaries.

Sanctuaries also scored higher for habitat quality, and the videos captured plenty of underwater animals taking advantage of them. Blue crabs, rockfish and summer flounder were just a few of the species that flocked to the sanctuary reefs. In the James and Great Wicomico rivers, the researchers estimated sanctuaries hosted 10 times as many animals, and nearly double the number of species, as the harvest reefs. The one exception was the Choptank River, where animal life was low in both the sanctuary and harvest sites.

Yet as the oysters flourished, so did the two parasites. More than half the oysters in all six sites—sanctuary and harvest—had the telltale holes of a boring sponge attack. However, the boring sponge was more prevalent in sanctuaries than harvest sites within two of the three tributaries. Mud blister worms were far less abundant—infecting 2–10% of oysters—but still higher in sanctuaries than harvest sites for two of the tributaries.

Neither parasite, the authors pointed out, is dangerous to humans. Both parasites only infect oyster shells, not the oyster tissue that people eat.

“It’s more of a concern for the fishery, because they can make the shells less attractive,” Tracy said. “It can decrease the value of the oyster for the half-shell market. But they have no effect on our health.” In the unlikely event that a person did accidentally slurp up one of these parasites with their raw oyster, Tracy said, it would simply pass through their system without impact. “There’s no shell that it can find to bore into in your stomach. So basically, it would be uninterested.”

The study is available at https://www.int-res.com/abstracts/meps/v739/p65-83/. For photos or to speak with one of the authors, contact Kristen Goodhue at goodhuek@si.edu.

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National Portrait Gallery Acquires Earliest Known Photograph of a US First Lady

AnciraS — Mon, 01 Jul 2024 13:21:00 +0000

The Smithsonian’s National Portrait Gallery announced today that it has acquired the earliest known photograph of a U.S. First Lady for its permanent collection. Likely dating from 1846, the recently rediscovered photograph of former First Lady Dolley Madison is a unique quarter-plate daguerreotype by John Plumbe Jr. The new acquisition joins the first known photograph of a U.S. President—an 1843 daguerreotype of John Quincy Adams by Philip Haas—which the National Portrait Gallery purchased for its collection in 2017.

Described by Sotheby’s as “one of exceedingly few surviving photographs of the woman who has defined for two centuries what it means to be the First Lady of the United States of America,” the daguerreotype in its original leather case was purchased by the National Portrait Gallery for $456,000 at the Sotheby’s Fine Books and Manuscripts, Including Americana auction held June 28 in New York City. Support for the purchase was provided by the Secretary of the Smithsonian and the Joseph L. and Emily K. Gidwitz Memorial Foundation Endowment; additional funding was raised privately by the Portrait Gallery.

“It is exciting to see the earliest known photograph of a First Lady, Dolley Madison, join the earliest known photograph of an American President, John Quincy Adams, in the National Portrait Gallery’s collection,” said Lonnie G. Bunch III, Secretary of the Smithsonian. “This artifact will provide the Smithsonian another opportunity to tell a more robust American story and illuminate the vital role women like Madison have played in the nation’s progress.”

“The National Portrait Gallery is delighted to have acquired this exceptional work on behalf of the nation,” said Ann Shumard, senior curator of photographs at the museum. “It will now be preserved in perpetuity for the public.”

Dolley Payne Todd Madison (1768–1849) was in her late 70s when Plumbe photographed her, most likely in the late spring or early summer of 1846, following an earlier visit by Plumbe to Madison in February of that year. An English emigrant who arrived in America in 1821, Plumbe was an entrepreneur who turned to photography as a professional pursuit in 1840. He established studios in more than a dozen cities before selling his business in 1847. In addition to his portrait of Madison, he created the earliest known photographic record of the U.S. Capitol. In 1846, he produced three daguerreotypes that captured the building prior to the construction of its iron dome.

Madison is credited with creating the role of First Lady as it is known today. Raised by a Quaker family in Philadelphia, she was naturally vivacious and outgoing, and she cultivated strategic friendships with male politicians and their wives. Prior to her husband James Madison’s presidency (1809–1817), she served as an honorary hostess for President Thomas Jefferson, which prepared her for taking on the role when her husband entered the office. The House of Representatives granted Madison an honorary seat on the floor whenever she chose to attend its sessions. Madison’s charisma and intelligence charmed the most hard-hearted politicians, making the lively Wednesday-night receptions she held at the White House the epicenter of Washington society. Her influence straddled political and social circles. At her funeral in 1849, President Zachary Taylor praised Madison as “the first lady of the land for half a century,” coining the term “First Lady” used today.

This unique daguerreotype of Madison is a significant portrait in American history, women’s history and the history of photography. The new acquisition joins the Portrait Gallery’s collection of nearly 230 portraits of First Ladies and more than 1,800 likenesses of U.S. Presidents.

In 2020, the National Portrait Gallery presented “Every Eye Is Upon Me: First Ladies of the United States,” the first major exhibition to explore the historical significance of the role of the First Lady through portraiture. To accompany the exhibition, the Portrait Gallery co-published, with Smithsonian Books, First Ladies of the United States (2020), a richly illustrated publication that serves as a companion to America’s Presidents (2017).

National Portrait Gallery

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New Acquisitions

Media Alert: Smithsonian Folklife Festival Continues June 29 to July 1 on National Mall

ScallanM — Fri, 28 Jun 2024 14:12:00 +0000

This year’s Smithsonian Folklife Festival celebrates the National Museum of the American Indian and the people whose voices the museum amplifies. The program “Indigenous Voices of the Americas: Celebrating the National Museum of the American Indian” highlights living traditions of Indigenous peoples and honors contemporary and traditional creative expressions, celebrations and community connections. This festival also marks several anniversaries for the museum, including the 20th anniversary of the museum on the National Mall and the 30th anniversary of the museum’s location in New York City.

Festival Information

The festival continues through Monday, July 1, on the National Mall between Third and Seventh streets. All events are free, and the festival is open daily from 11 a.m. to 5:30 p.m. On select evenings, live music on the festival’s Four Directions Stage will run until 7 p.m. The festival is co-presented by the Smithsonian’s Center for Folklife and Cultural Heritage, the National Museum of the American Indian and the National Park Service.

What To See and Do

The festival features more than 250 participants from 60 Indigenous communities from across the U.S., Canada, Mexico, Guatemala, Peru, Bolivia, Chile, Argentina and Brazil.

Highlights of the program include skateboarding and lacrosse; traditional crafts, including basket making, silk weaving, featherwork, ceramics and wood carving; storytelling; hands-on activities for children and adults; traditional and contemporary Indigenous music and dance; and food demonstrations.

On Saturday, June 29, the evening concert will feature Pamyua (5:30 to 7 p.m.; Four Directions Stage), and Sunday, June 30, Singer-songwriter Sara Curruchich will perform (5:30 to 7 p.m.; Four Directions Stage). The festival’s final concert will be the Sons of Membertou in the museum’s Potomac Atrium from 4 to 5 p.m., Monday, July 1.

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Public Programs

Smithsonian’s “Forensic Science on Trial” Exhibition Explores What Happens When Science Enters the Courtroom

ScallanM — Thu, 27 Jun 2024 18:58:00 +0000

The Smithsonian’s National Museum of American History will open “Forensic Science on Trial” June 28, a new exhibition that explores the way people influence the development, presentation and interpretation of forensic science. The one-year exhibition will run through June 2025 in the museum’s 1,000-square-foot Albert H. Small Documents Gallery.

Objects and archival documents on view will span 150 years of historic cases and include about a dozen different forensic techniques, from hair to handwriting analysis. Among the objects on view will be arsenic tests from the 1872 trial of Lydia Sherman, who was suspected of poisoning three of her husbands and eight children; one of the earliest polygraphs used for lie detection created by John A. Larson in 1921; an early sexual-assault examination kit co-developed by Martha Goddard and Louis Vitullo; and materials related to fingerprinting and DNA identification on loan from the FBI. In addition to the courtroom, the exhibition will look at how the media, through news coverage and on fictional television shows, such as Showtime’s Dexter, shape how the public understands forensic evidence and what is called the CSI: Crime Scene Investigation effect.

“The nation’s popular culture, from streaming series to podcasts, reflects the current fascination with true crime and forensic evidence,” said Anthea M. Hartig, the museum’s Elizabeth MacMillan director. “‘Forensic Science on Trial’ mines the museum’s extensive science collections as well as special loans to provide our audiences with a fascinating look at how forensic science has long been a part of the pursuit of justice.”

Divided into three sections, “Of People,” “By People” and “For People,” the exhibition underscores the long-standing desire to create systems that can reliably turn trace evidence of criminals into convictions, how the collection and judgement of data can be influenced by personal beliefs and the way the past can shape how data is exhibited for those tasked with deciding guilt or innocence.

The exhibition presents objects in pairings under common themes such as privacy, regulation, uncertainty and acceptance. One pairing juxtaposes an object from the early years of bitemark analysis—namely a photograph of a wax bite impression of Ted Bundy’s teeth used in his 1979 murder trial—with a bite apparatus used by researchers at the University at Buffalo School of Dental Medicine between 2009–13, whose results raised questions about some of the fundamental tenets of this practice.

Loans from individuals as well as the Massachusetts and New Jersey State Police Departments allow for the presentation of materials from multiple “trials of the century.” These include a bullet and pistol from the 1921 trial of Italian immigrants and anarchists Nicola Sacco and Bartolomeo Vanzetti for killing two people during a robbery, a handwriting analysis display from the 1935 trial of Bruno Richard Hauptmann, charged with the kidnapping and murder of the son of aviators Anne and Charles Lindbergh and a copy of DNA autoradiographs from the 1994–95 trial of O.J. Simpson. Among the lenders to the exhibition are DNA expert Dr. Robin Cotton, the Innocence Project, forensic dentist Dr. Richard Souviron, the FBI, the Harvard Law Library and Smithsonian Libraries and Archives.

“This history exhibition focuses on forensic science as a human pursuit, created so that visitors, be they scientists, crime show fans, legal experts or potential jurors, can see themselves as people who shape this work,” said Kristen Frederick-Frost, exhibition curator.

“Forensic Science on Trial” is made possible by Andrew and Anya Shiva.

As this exhibition will display objects and present cases related to forensic investigations of murder, sexual assault and kidnapping, it may not be appropriate for younger audiences.

Through incomparable collections, rigorous research and dynamic public outreach, the National Museum of American History seeks to empower people to create a more just and compassionate future by examining, preserving and sharing the complexity of our past. The museum, located on Constitution Avenue N.W., between 12th and 14th streets, is open daily except Dec. 25, between 10 a.m. and 5:30 p.m. Admission is free. The doors of the museum are always open online and the virtual museum continues to expand its offerings, including online exhibitions, PK–12 educational materials and programs. The public can follow the museum on social media on Instagram and Facebook. For more information, go to https://americanhistory.si.edu. For Smithsonian information, the public may call (202) 633-1000.

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Smithsonian American Art Museum Hosts 11th Annual SAAM Arcade 2024

ScallanM — Thu, 27 Jun 2024 14:04:00 +0000

The Smithsonian American Art Museum presents its annual exploration of video games and art, SAAM Arcade 2024, Saturday, July 27, from 11:30 a.m. to 7 p.m. This program is part of the museum’s ongoing commitment to the study and interpretation of video games as part of the national visual culture.

This year, the popular celebration of creativity and innovation in games focuses on the theme of “Adventure Awaits.” This daylong event features video games that celebrate the theme of travel, exploration and the exciting possibilities of visiting real and imagined new worlds. The centerpiece of the event is the independent developer showcase, which this year features nine games. In addition, MAGFest, a non-profit organization dedicated to the appreciation of games and video game music, is providing a variety of classic arcade and console games featuring cars, travel and new worlds to play.

The titles selected for the “Indie Showcase” include:

“Hair Nah” by Momo Pixel, reflecting on the experience of Black women while traveling
“A Highland Song” by inkle, set in the Scottish Highlands, where players test their survival skills
“Atuel” by Matajuegos, focuses on the ecosystem of Argentina’s Atuel River Valley
“Skábma-Snowfall” by Red Stage Entertainment, where players transform from Sámi reindeer herders to traditional healers
“Sophia The Traveler” by Memo Gogo Studio, explores Venice, Italy
“Journey” by thatgamecompany, navigates a desert and the remains of a forgotten civilization
“Spiritfarer” by Thunder Lotus Games, where players travel by sea and become ferry masters, caring for and befriending spirits on their way to the afterlife
“Isles of Sea and Sky” by Cicada Games, where castaway survivors journey across ancient islands
“Morgan: Metal Detective” by Studio Morgan, where players discover lost treasures on an island through metal detector work

From 11:30 a.m. to 1 p.m., the sound levels in the space will be reduced so attendees with sensory needs can enjoy the offerings, and throughout the program, noise-cancelling headphones will be available to borrow. American Sign Language (ASL) interpreters will be available during the program so Deaf visitors may fully engage with the game offerings.

Musical performances by Triforce Quartet will be at 2 p.m. and 5 p.m. A special themed scavenger hunt will be available so visitors can explore the museum’s galleries and connect video games to objects in the museum’s collection. An additional activity created by the museum is Side Quest, a game where participants ask developers questions and win prizes. Detailed event information and a full list of the featured games are available on the museum’s website. This program is free, but registration is encouraged.

The Smithsonian American Art Museum is a leader in exploring the impact and artistry of video games and was one of the first art museums in the United States to acquire video games as part of its permanent collection. Video games create compelling participatory and social spaces, imagined by artists and designers and activated by players whose individual interactions are uniquely required to complete the experience. SAAM Arcade emphasizes this aspect of video game appreciation by encouraging hands-on engagement and in-person exchanges among independent developers, gamers and new audiences.

Credit

SAAM Arcade is made possible in part by support from the Albert H. Small Endowment.

About the Smithsonian American Art Museum

The Smithsonian American Art Museum is the flagship museum in the United States for American art and craft. It is home to one of the most significant and inclusive collections of American art in the world. The museum’s main building, located at Eighth and G streets N.W., is open daily from 11:30 a.m. to 7 p.m. The museum’s Renwick Gallery, a branch museum dedicated to contemporary craft, is located on Pennsylvania Avenue at 17th Street N.W. and is open daily from 10 a.m. to 5:30 p.m. Check online for current hours and admission information. Admission is free. Follow the museum on Facebook, Instagram, LinkedIn and YouTube. Smithsonian information: (202) 633-1000. Museum information (recorded): (202) 633-7970. Website: americanart.si.edu.

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SI-227-2024

Media Only

Katie Hondorf

202-633-8523

hondorfc@si.edu

Smithsonian American Art Museum and its Renwick Gallery

Public Programs

After 20 Years, Ancestor Rock, Kānepō, To Return Home to Hawaiʻi

AnciraS — Fri, 21 Jun 2024 16:20:54 +0000

After two decades representing the western cardinal point of the Smithsonian’s National Museum of the American Indian on the National Mall, the volcanic pōhaku (rock) named Kānepō will return to its home on the Island of Hawaiʻi this summer. In preparation for Kānepō’s departure, a ceremony will be held July 1 during the Smithsonian Folklife Festival. The ceremony will take place at 11 a.m. in the museum’s Potomac Atrium and will be led by Kekuhi Kealiʻikanakaʻole, who is a kumu hula (master teacher of the art of hula), educator, scholar and founder of Hālau ʻŌhiʻa, a program designed to deepen connection and relationship with the Earth through Hawaiʻi life ways.

An integral element of the landscape, Kānepō has stood with three other cardinal markers to represent the vastness of the museum’s scope and the special inclusion of Native Hawaiians. The three remaining markers will remain in their locations on the museum grounds.

Kānepō was selected by the Kūpuna (Elders) consultation group for Hawaiʻi Volcanoes National Park. The group, composed of Native Hawaiians with genealogical ties to the lands that the park stewards, as well as retired park personnel, consults with the National Park Service staff on traditional practices.

Unlike the other three cardinal markers that were given outright to American Indian Museum, Kānepō was loaned to the museum for 20 years with the expectation that the stone would be returned. A new pōhaku has been selected to take its place and is scheduled to arrive at the museum in the fall. The new pōhaku also will also be named Kānepō and return to Hawai’i after 20 years.

The 2024 Folklife Festival will be held on the National Mall opposite the National Museum of the American Indian from June 26 through July 1. This year’s festival celebrates the museum and the people whose voices it amplifies. “Indigenous Voices of the Americas: Celebrating the National Museum of the American Indian” will highlight the living traditions of Indigenous peoples and honor contemporary and traditional creative expressions, celebrations and community connections, and feature more than 250 participants from 60 Indigenous communities in the United States, Canada, Mexico, Guatemala, Peru, Bolivia, Chile, Argentina and Brazil.

About the Museum

In partnership with Native peoples and their allies, the National Museum of the American Indian fosters a richer shared human experience through a more informed understanding of Native peoples. The museum strives toward equity and social justice for the Native peoples of the Western Hemisphere through education, inspiration and empowerment. Through two locations, it features exhibitions and programs in New York City and the National Mall in Washington, D.C. For additional information, including hours and directions, visit AmericanIndian.si.edu. Follow the museum on Facebook, Instagram, X, YouTube, LinkedIn and Pinterest.

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SI-216-2024

Media Only

Becky Haberacker

202-633-5183
haberackerb@si.edu

Lisa Austin

212-514-3826

austinl@si.edu

National Museum of the American Indian

National Museum of Asian Art Presents “An Epic of Kings: The Great Mongol Shahnama”

AnciraS — Mon, 17 Jun 2024 17:00:00 +0000

The Smithsonian’s National Museum of Asian Art has announced “An Epic of Kings: The Great Mongol Shahnama,” an exhibition on the first imperial copy of Iran’s national epic, Firdawsi’s “Book of Kings.” It will open at the museum Aug. 31 and remain on view until Jan. 5, 2025. The manuscript, completed sometime between 1330 and 1336 in Tabriz, the capital of the Ilkhanids, the Mongol rulers of Iran (1256–1353), is a masterpiece as much for its impressive scale (60 x 40 centimeters [about 24 x 16 inches]) as for its exceptional paintings. It exemplifies the remarkable artistic originality that flourished under Ilkhanid rule, a period traditionally associated with upheaval and destruction rather than creativity.

For the first time ever, the exhibition assembles 24 folios from the manuscript, focusing on the series of illustrated folios depicting Iran’s historical rulers—beginning with Alexander the Great. “An Epic of Kings” not only includes works from Yuan and Ming China, but also from the medieval Mediterranean world and the Latin West; this highlights the cosmopolitan nature of the Ilkhanid empire and the development of a particular and rich pictorial language as the dynasty strengthened its position at the crossroads of the East and West.

With more than 60 objects on display, “An Epic of Kings” includes works from the museum’s own holdings alongside loaned works from the Cleveland Art Museum, the Harvard Art Museums, the J. Paul Getty Museum, the Keir Collection—currently on loan to the Dallas Museum of Art—and several prominent private collections. The National Museum of Asian Art holds one of America’s preeminent collections of the arts of the Islamic world, with particular strengths in illustrated manuscripts and ceramics among the more than 2,200 objects.

“In our second century, the National Museum of Asian Art is committed to engaging in dynamic collaborations beyond our four walls and to telling compelling stories about object histories,” said Chase F. Robinson, the museum’s director. “‘An Epic of Kings’ would not be possible without the generosity of these institutions that lent us exceptional works of art including some folios from this manuscript, enabling us to offer a rare chance to view many pages from a medieval Persian masterpiece and to invite visitors to learn more about the complexities of its creation in the 14th century.”

“‘The Great Mongol Shahnama’ truly represents a watershed in the history of Persian painting,” said Simon Rettig, the National Museum of Asian Art’s associate curator for the arts of the Islamic world. “There is nothing like it before and after, and the folios on view in the exhibition show how unique and grand a manuscript it was.”

In preparation for the exhibition, the department of conservation and scientific research collaborated with the curatorial department to analyze the museum’s “Great Mongol Shahnama” paintings. A short video on pigment analysis and X-ray investigation of the works will be displayed in the exhibition to show some of the preliminary results. An extensive e-publication discussing some of the major results of this research is scheduled for release in spring 2025.

The National Museum of Asian Art’s Department of Conservation and Scientific Research repaired many delicate, ancient works for this exhibition. Part of the process is documented in a viral video that showcases a technique called a “fill,” when paper or other material is used to fill in a missing part to prevent further damage.

Event
Sneak Peek: New Research from the National Museum of Asian Art
Online Zoom discussion; details forthcoming
Tuesday, Sept. 10; noon–12:40 p.m. ET
Rettig will share an insider's view of the exhibition “An Epic of Kings: The Great Mongol Shahnama” as part of a monthly scholarly program series.

About the National Museum of Asian Art

The Smithsonian’s National Museum of Asian Art is committed to preserving, exhibiting, researching and interpreting art in ways that deepen our collective understanding of Asia, the United States and the world. Home to more than 46,000 objects, the museum stewards one of North America’s largest and most comprehensive collections of Asian art, with works dating from antiquity to the present from China, Japan, Korea, South Asia, Southeast Asia and the Islamic world. Its rich holdings bring the arts of Asia into direct dialogue with an important collection of 19th- and early 20th-century art from the United States, providing an essential platform for creative collaboration and cultural exchange between the U.S., Asia and the Middle East. The National Museum of Asian Art’s collection includes one of America’s finest collections of the arts of the Islamic world, with particular strengths in works on paper and ceramics among more than 2,200 objects.

Beginning with a 1906 gift that paved the way for the museum’s opening in 1923, the National Museum of Asian Art is a leading resource for visitors, students and scholars in the United States and internationally. Its galleries, laboratories, archives and library are located on the National Mall in Washington, D.C., and are part of the world’s largest museum complex, which typically reports more than 27 million visits each year. The museum is free and open to the public 364 days a year (closed Dec. 25), making its exhibitions, programs, learning opportunities and digital initiatives accessible to global audiences.

For more information, visit the museum’s website and follow updates on Instagram at @natasianart, X at @NatAsianArt and Facebook at @NatAsianArt.

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SI-212-2024

Media Only

Jennifer Mitchell

202-251-4892
mitchellja@si.edu

asia.si.edu/press
PRESS IMAGES

National Museum of Asian Art

Exhibitions