New Acquistions | Collection Description | Search the Collection | Current Exhibitions
Traveling Exhibitions | Upcoming Exhibitions | Online Exhibitions | Director's Choice | Lucelia Artist Award
Current, Upcoming and Traveling Exhibitions
Current Exhibitions
The Smithsonian American Art Museum is now open! Its glorious historic main building in the heart of Washington's downtown cultural district is a dazzling showcase for American art. Special exhibitions are in galleries at the Donald W. Reynolds Center, located at Eighth and F Streets N.W., unless otherwise noted. Exhibitions of contemporary craft and decorative arts are ongoing at the museum's branch, the Renwick Gallery.
Aaron Douglas: African American Modernist
Now through Aug. 3, 2008
Love jazz and blues? Bessie Smith and Langston Hughes? Experience the world of Aaron Douglas (1899–1979), one of the most influential visual artists of the Harlem Renaissance. Aaron Douglas: African American Modernist is the first nationally touring retrospective that brings together more than eighty rarely seen works by the artist including paintings, prints, drawings and illustrations. Douglas combined angular cubist rhythms, seductive art deco style, and traditional African and African American imagery to develop his own unique visual vocabulary, which was part of a rich interchange between the visual arts, music, dance, literature, and politics. His bold paintings, murals, and book illustrations opened doors for African American artists in Harlem and beyond and made a lasting impact on American modernism. Susan Earle, curator of European and American art at the Spencer Museum of Art, organized the exhibition; Virginia Mecklenburg, senior curator at the museum, is the coordinating curator.
Credit
Aaron Douglas: African American Modernist was organized by the Spencer Museum of Art at the University of Kansas in Lawrence. The exhibition and accompanying catalogue are made possible in part with support from the Henry Luce Foundation and the National Endowment for the Arts.
The Diane and Norman Bernstein Foundation, Inc. and PEPCO are proud to partner with the Smithsonian American Art Museum on the exhibition in Washington, D.C.
Publication
A major monograph on Douglas accompanies the exhibition with an introduction by Kinshasha Holman Conwill, deputy director at the Smithsonian’s National Museum of African American History and Culture; essays by a number of prominent scholars, including Susan Earle, curator of the exhibition; David Driskell, professor emeritus at the University of Maryland; and Richard Powell, professor of art and art history at Duke University; among others and a chronology. It is available in the museum store for $45.
Ornament as Art: Avant-Garde Jewelry from the Helen Williams Drutt Collection (Renwick)
Now through July 6, 2008
Ornament as Art: Avant-Garde Jewelry from the Helen Williams Drutt Collection is a landmark exhibition that explores contemporary jewelry from a global perspective. The exhibition traces the development of artist-made jewelry and honors its craft roots while also placing the work within a larger framework of seminal movements in 20th century art. Ornament as Art showcases a broad array of national and international works made between 1963 and 2006. The exhibition includes 300 objects, including 275 pieces of jewelry and drawings, watercolors, sketchbooks and sculptural constructions by the artists. Cindi Strauss, curator of modern and contemporary decorative arts and design at the Museum of Fine Arts, Houston, organized the exhibition; Robyn Kennedy, chief of the Renwick Gallery, is coordinating curator for the exhibition in Washington.
Credit
Ornament as Art: Avant-Garde Jewelry from the Helen Williams Drutt Collection has been organized by the Museum of Fine Arts, Houston. Generous funding has been provided by the National Endowment for the Arts and the Rotasa Foundation. The James Renwick Alliance supports the exhibition's presentation at the Renwick Gallery.
Publication
The richly illustrated catalogue, available in the museum store for $90, features an introduction and essay by Cindi Strauss, an essay by Helen Williams Drutt English, an interview of Drutt by Strauss, a chronology of major events in contemporary jewelry, a complete illustrated checklist of the Drutt collection and artist biographies.
The Honor of Your Company Is Requested: President Lincoln's Inaugural Ball
Now through Jan. 18, 2010
Travel back 143 years to the revelry of Abraham Lincoln's second inaugural ball. This small, focused exhibition celebrates the president's second inaugural ball, held on March 6, 1865 in what is now the museum's historic home. The ball took place as Lincoln's second term began, with the Civil War in its final stages, and only six weeks before Lincoln was assassinated at Ford's Theater nearby. The exhibition, which relates the ball to the building and its history, features ephemera from the inaugural ball, including the invitation and menu as well as engravings illustrating the night's events and other artifacts. From pomp and politics to feasting and fights over food, this was one night destined for the history books. Charles Robertson, author of the recent book Temple of Invention: History of a National Landmark and a specialist in American decorative arts, is the guest curator of the exhibition.
Credit
The exhibition is organized by the Smithsonian American Art Museum with support from the Ford Motor Company Fund.
Color as Field: American Painting, 1950–1975
Now through May 26, 2008
Color as Field: American Painting, 1950–1975 is the first ever full-scale examination of the sources, meaning and impact of the Color Field movement. Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. These works constitute one of the crowning achievements of postwar American abstract art. The exhibition includes 39 beautiful and impressively scaled paintings by such major figures as Gene Davis, Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. Color as Field presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their pictorial handling of space and color. Karen Wilkin, a specialist in twentieth-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke Curator of Contemporary Art at the museum, is the coordinating curator in Washington.
Credit
Color as Field: American Painting, 1950–1975 is organized by the American Federation of Arts.
This exhibition is made possible, in part, by grants from the Henry Luce Foundation and the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.
The exhibition's presentation at the Smithsonian American Art Museum is made possible by the Gene Davis Memorial Fund, Golden Artist Colors, Oriana and Arnold McKinnon, Betty A. and Lloyd G. Schermer, Mike Wilkins and Sheila Duignan, and the Smithsonian Council for American Art.
Podcasts—Larry Poons in Conversation with Karen Wilkin
The American Federation of Arts produced a series of video podcasts to accompany the exhibition. Artist Larry Poons discusses his career, his influences, and reminisces about other Color Field painters in a series of eight interviews recorded in New York in 2007.
Publication
The catalogue, available in the museum store for $32.95, includes essays by Wilkin and Carl Belz, director emeritus of the Rose Art Museum at Brandeis University.
Obata's Yosemite
Now through June 1, 2008
In 1927, Chiura Obata (1885–1975) visited Yosemite National Park and the Sierra Nevada, where he made approximately 100 drawings in pencil, watercolor and sumi ink. Between 1928 and 1930, while Obata was in Tokyo, he transformed these California landscape watercolors and sketches into a limited-edition portfolio titled "World Landscape Series." Obata's Yosemite features 27 prints and watercolors and a series of 20 progressive proofs. This display is the first time the artist's prints have been publicly exhibited on the East Coast. Joann Moser, senior curator for graphic arts, is the curator of the exhibition.
Obata's Yosemite is organized by the Smithsonian American Art Museum. The exhibition's tour is supported in part by the C.F. Foundation, Atlanta, and the William R. Kenan, Jr. Endowment Fund.
Celebrating the Lucelia Artist Award, 2001–2006
Now through June 22, 2008
The Lucelia Artist Award, established in 2001, has been an important new initiative at the Smithsonian American Art Museum. The award annually recognizes an exceptional American artist younger than 50. The recipient is selected by a distinguished panel of jurors who nominate artists whose work they consider emblematic of this period in contemporary art. Each of the previous winners—Matthew Coolidge, director of the Center for Land Use Interpretation (2006); Andrea Zittel (2005); Kara Walker (2004); Rirkrit Tiravanija (2003); Liz Larner (2002); and Jorge Pardo (2001)—are represented in the exhibition. Sidra Stich, the former executive director of the Lucelia Artist Award and director of "art·SITES," a series of contemporary art, architecture and design handbooks, is the guest curator of the exhibition. The 2007 winner of the Lucelia Artist Award, Jessica Stockholder, was announced in conjunction with the opening of this exhibition.
Back to: Top
Upcoming Exhibitions
2008
Earth and Sky: Photographs by Barbara Bosworth
Georgia O'Keeffe and Ansel Adams: Natural Affinities
Lino Tagliapietra in Retrospect: A Modern Renaissance in Glass (Renwick)
Accommodating Nature: The Photographs of Frank Gohlke
2009
Graphic Masters: Highlights from the Smithsonian American Art Museum
Renwick Craft Invitational 2009 (Renwick)
What's It All Mean: William T. Wiley in Retrospect
2010
Framing the West: The Expedition Photographs of Timothy H. O'Sullivan
Earth and Sky: Photographs by Barbara Bosworth
June 20 through November 9, 2008
Nature's strength, endurance, and fragility are captured in the dynamic work of Barbara Bosworth (b. 1953). Best known for her photographs of National Champion trees—the largest identified example of each species in the United States—Bosworth creates panoramic images using a unique method that combines multiple large-format negatives in a single print. The exhibition, which celebrates a recent gift of the artist's work, will feature forty of Bosworth's photographs, including The Bitterroot River, an extended narrative sequence that deals with loss and recovery, and her most recent color photographs of songbirds and the New England landscape surrounding her home near Boston. While Bosworth's subjects appear direct and straightforward, her images are notable for their grace and emotional resonance. Surveying two decades of her photographs, this exhibition reveals an artist who speaks with singular passion and sentiment for the American landscape. Toby Jurovics, curator for photography, is the exhibition curator.
Credit
Haluk Soykan and Elisa Frederickson generously donated the photographs in this exhibition. The Bernie Stadiem Endowment Fund supports the exhibition of Earth and Sky: Photographs by Barbara Bosworth.
Georgia O'Keeffe and Ansel Adams: Natural Affinities
September 26, 2008 through January 4, 2009
Georgia O'Keeffe and Ansel Adams: Natural Affinities celebrates the deep commitment to the American landscape by these two iconic artists. The exhibition explores how both artists intensely focused their attention on beauty in nature and transformed these elements with color and tone. The exhibition includes forty-three paintings from public and private collections and fifty-four photographs borrowed primarily from the Center for Creative Photography in Tucson, Arizona, which holds the largest single collection of Adams' work. Independent scholar Anne Hammond selected the artworks for the exhibition. Eleanor Harvey, chief curator at the Smithsonian American Art Museum, is the coordinating curator with Toby Jurovics, the museum's curator of photography.
Credit
Georgia O'Keeffe and Ansel Adams: Natural Affinities was organized by the Georgia O'Keeffe Museum. The exhibition was made possible in part by MetLife Foundation, the exhibition's Lead National Sponsor, The Burnett Foundation, the Henry Luce Foundation, The Kerr Foundation, The Annenberg Foundation, and the Georgia O'Keeffe Museum's National Council.
The Morris and Gwendolyn Cafritz Foundation and the Smithsonian Council for American Art support the exhibition's presentation in Washington, D.C.
Lino Tagliapietra in Retrospect: A Modern Renaissance in Glass (Renwick)
October 3, 2008 through January 11, 2009
Lino Tagliapietra in Retrospect: A Modern Renaissance in Glass is the first exhibition to thoroughly examine the art of Lino Tagliapietra (b. 1934), widely revered as a master of glass blowing, and to document his unparalleled contributions to fostering a new generation of glass artists. He is widely credited with changing the course of contemporary studio glass through his teaching. The exhibition will feature more than 160 works from Tagliapietra's 40-year career, including pivotal works from the artist's own collection and collections around the world, as well as designs made for industry and objects that have never been exhibited. The exhibition curator is Susanne Frantz, former curator of twentieth-century glass at the Corning Museum of Glass in Corning, New York.
Credit
Lino Tagliapietra in Retrospect: A Modern Renaissance in Glass is organized by the Museum of Glass in Tacoma, Washington.
Publication
The catalogue, co-published by the Museum of Glass and the University of Washington Press, will feature an essay by Frantz and an essay by Helmut Ricke, internationally acclaimed scholar and glass historian at the Museum Kunst Palast in Düsselforf, Germany. Also included will be a detailed chronology of Tagliapietra's life, as well as an explanatory technical section aimed at a general audience written by Dante Marioni, an early Tagliapietra student and currently a leading glass artist in the United States.
Accommodating Nature: The Photographs of Frank Gohlke
December 5, 2008 through March 1, 2009
For more than 30 years, Frank Gohlke (b. 1942), a leading figure in American landscape photography, has explored the ways Americans build their lives in a natural world that rarely fits within a traditional pastoral ideal. This retrospective exhibition, which captures Gohlke's longstanding fascination with nature's proclivities for growth, destruction and unexpected change, features 85 photographs—both black and white and color prints—spanning the artist's career from the early 1970s through 2004. Rather than celebrating uninhabited landscapes or avoiding evidence of human intrusions, Gohlke's photographs reflect how people interact with an environment that can never be fully controlled. Whether photographing his hometown of Wichita Falls, Texas; the grain elevators that punctuate the vast spaces of the Midwest; the effect of the 1980 volcanic eruption of Mount St. Helens in Wash.; or the neighborhoods of Queens, N.Y., Gohlke deftly captures the tension between humanity and the natural world, exploring how people adapt to the forces of nature both great and small, even within the confines of their own backyards. The exhibition was organized by John Rohrbach, senior curator of photographs at the Amon Carter Museum in Fort Worth, Texas; Toby Jurovics, curator for photography, is the coordinating curator in Washington.
Credit
Accommodating Nature: The Photographs of Frank Gohlke is organized by the Amon Carter Museum and is made possible in part by generous support from the Perkins-Prothro Foundation, Exelon Power and the Vin and Caren Prothro Foundation.
Graphic Masters: Highlights from the Smithsonian American Art Museum
February 27 through August 30, 2009
Graphic Masters: Highlights from the Smithsonian American Art Museum celebrates the extraordinary variety and accomplishment of American artists’ works on paper. These exceptional watercolors, pastels, and drawings from the 1860s through the 1990s reveal the central importance of works on paper for American artists, both as studies for creations in other media and as finished works of art. Artists included in this exhibition range from nineteenth-century masters such as Winslow Homer, John La Farge, and Thomas Moran to modern virtuosos of color such as William H. Johnson and Stuart Davis to contemporary artists Wayne Thiebaud, Jennifer Bartlett, and April Gornik. Joann Moser, curator for graphic arts, is the exhibition curator.
Publication
The accompanying catalogue book, Graphic Masters: Highlights from the Smithsonian American Art Museum, is available in the museum's online shop for $19.95.
Renwick Craft Invitational 2009 (Renwick)
August 7, 2009 through January 10, 2010
The Renwick Craft Invitational 2009 is the fourth in a biennial exhibition series, established in 2000, that honors the creativity and talent of craft artists working today. The exhibition will feature the work of ceramic artist Christyl Boger, fiber artist Mark Newport, glass artist Mary Van Cline and ceramic artist SunKoo Yuh. The artists were chosen by Kate Bonansinga, director of the Stanlee and Gerald Rubin Center for the Visual Arts at the University of Texas at El Paso; Jane Milosch, Renwick Gallery curator; and Paul J. Smith, director emeritus of the Museum of Arts & Design. Bonansinga is the guest curator for the exhibition.
Boger (b. 1959), an assistant professor at Indiana University in Bloomington, creates large-scale gilded ceramic figurines that incorporate contemporary props. Newport (b. 1964), artist-in-residence and head of the fiber department at the Cranbrook Academy of Art in Bloomfield Hills, Michigan, examines issues of masculinity through knitted superhero costumes. Van Cline (b. 1954), who lives and works in Seattle, uses plate glass and pâte de verre to construct sculptural pieces that often incorporate black-and-white photographs. Yuh (b. 1960), an associate professor at the University of Georgia in Athens, creates densely layered ceramic sculptures that explore complex issues of family, faith and community with Eastern and Western imagery.
Credit
The Ryna and Melvin Cohen Family Foundation generously supports the Renwick Craft Invitational 2009.
What's It All Mean: William T. Wiley in Retrospect
October 2, 2009 through January 24, 2010
William Wiley (b. 1937) has stood the test of time in the face of changing styles, successive movements, critical theories and passing fashion. His self-deprecating humor and sense of the absurd make his art accessible to even those who do not comprehend his more ambiguous ideas, allusions, narratives, private symbols and layers of meaning. Puns are fun, and they make more palatable his deadly serious commentary on war, pollution, global warming, racial tension and other threats to contemporary civilization. What's It All Mean: William T. Wiley in Retrospect, the first full-scale look at Wiley's career since 1979, will feature approximately 100 works from the late 1960s to the present, borrowed from public and private collections as well as from the artist. It will provide a serious overview of Wiley's career while exploring important themes and ideas expressed in his work. Joann Moser, senior curator for graphic arts, is the curator of the exhibition.
Framing the West: The Expedition Photographs of Timothy H. O'Sullivan
February 12 through May 9, 2010
Timothy H. O'Sullivan (1840–1882), a photographer for two of the most ambitious geological surveys of the 19th century, is likely to have witnessed more of the American interior than any photographer of his generation. O'Sullivan traversed the mountain and desert west for six seasons between 1867 and 1874 as part of government-sponsored expeditions led by Clarence King and Lt. George Wheeler, returning to Washington with hundreds of photographs of newly explored landscapes. These images reveal a photographer whose reach was far beyond practical documentation, exhibiting a forthright and rigorous style formed in response to the American west. Faced by terrain that was physically challenging, and without previous artistic examples to follow, O'Sullivan created a mature body of work that was without precedent. Framing the West: The Expedition Photographs of Timothy H. O'Sullivan, the first major look at O'Sullivan photographs in more than 25 years, is a critical re-examination of the artist's work and his continuing influence on American photography. The exhibition and accompanying catalog will present a careful analysis of O'Sullivan's images, the conditions under which they were made, the influences that shaped his work and a study of the lasting historic importance of this remarkable body of photographs. Toby Jurovics, curator for photography, is the exhibition curator.
Back to: Top
Traveling Exhibitions
Nationally Touring Exhibitions Organized by the Smithsonian American Art Museum
The Smithsonian American Art Museum's traveling exhibition program has circulated hundreds of exhibitions since it was established in 1951. Here are the museum's latest offerings that are traveling to communities across the United States.
The Prints of Sean Scully
Sean Scully (b. 1945) has been making prints for more than 30 years and considers these works to be as significant as his paintings. The Prints of Sean Scully presents a selection of 44 works from a master set of prints that was acquired in 2001 and is updated annually with newly created works. Scully chose the Smithsonian American Art Museum as the only museum in the United States to receive a master set. Using his instantly-recognizable block shapes, Scully’s richly layered prints explore recurring themes in his work, such as the play of light and shadow, the expressive qualities of color and the spatial relationships created by the edges of his distinctive abstract forms.
After closing in Washington, the exhibition travels to the Naples Museum of Art in Naples, Fla. (Nov. 10, 2007–Jan. 13, 2008); the Minneapolis Institute of Art in Minneapolis, Minn. (March 1–May 4, 2008); and the Hyde Collection in Glens Falls, N.Y. (Sept. 5–Nov. 2, 2008).
The Prints of Sean Scully is organized and circulated by the Smithsonian American Art Museum with support from Gisele Galante Broida, Don Brown, Ruth Holmberg and Norfolk Southern Corporation. The exhibition’s tour is supported in part by the C.F. Foundation, Atlanta, and the William R. Kenan, Jr. Endowment Fund.
Elihu Vedder's Drawings for the Rubáiyát of Omar Khayyám
Since the first English translation in 1859, hundreds of editions of the Rubáiyát, written around 1120 by the Persian mathematician, astronomer and poet Omar Khayyám, have been published. The poem expounds on the transience of existence and the uselessness of science or religion to untangle the knotted meaning of life. Elihu Vedder (1836–1923), an ardent admirer of the verses, arranged the most famous and elaborate edition in the 1880s. Vedder created the designs for the entire book—its cover, lining paper, compelling drawings and eccentric hand-drawn letters—which set the standard for an artist-designed book in America and England at the time. This exhibition features 55 drawings from the museum's collection. To browse the full collection online, visit the museum's microsite at AmericanArt.si.edu/vedder.
This show will travel to the Brandywine River Museum in Chadds Ford, Penn. (March 15, 2008–May 18, 2008) and the Phoenix Art Museum (Nov. 14, 2008–Feb. 10, 2009).
Elihu Vedder's Drawings for the Rubáiyát of Omar Khayyám is organized and circulated by the Smithsonian American Art Museum. The exhibition's tour is supported in part by the C.F. Foundation, Atlanta, and the William R. Kenan, Jr. Endowment Fund.
Earl Cunningham’s America
Earl Cunningham’s America examines the paintings of Earl Cunningham (1893–1977), one of the foremost folk artists of the twentieth century. This retrospective presents the artist as a folk modernist who used flat space and brilliant color to create sophisticated compositions with complex meanings about the nature of American life. The exhibition and the fully-illustrated catalogue trace the story of Cunningham’s life and place his work in the context of the folk art revival that brought Edward Hicks, Grandma Moses, Horace Pippin and other folk masters to national attention.
The exhibition travels to the American Folk Art Museum in New York City (March 4, 2008 – Aug. 31, 2008); the Fenimore Art Museum in Cooperstown, N.Y. (Sept. 26, 2008 – Dec. 31, 2008); and The Mennello Museum of American Art in Orlando, Fla. (March 6, 2009 – Aug. 2, 2009)
Earl Cunningham’s America is organized by the Smithsonian American Art Museum. The exhibition is made possible by generous support from Darden Restaurants Foundation; the Elizabeth Morse Genius Foundation; the Arts and Cultural Affairs Office of Orange County, Fla.; CNL Financial Group; Bright House Networks; Lockheed Martin; and Friends of The Mennello Museum of American Art. The exhibition’s tour is supported in part by the C. F. Foundation, Atlanta.
Passing Time: The Art of William Christenberry
William Christenberry (b. 1936) looks for the spirit of Southern culture in the landscape and architecture of rural Alabama. Drawing upon his formal training, family traditions and a lasting relationship with his native home in Hale County, Christenberry has spent the last fifty years creating a remarkable body of work that is an exploration of all aspects of life and experience. This exhibition, not a retrospective but a survey of past and present work, includes fifty-three photographs, drawings, paintings, sculptures and building constructions. Though his work is inspired by the American South, Christenberry's overall themes are universal, touching on family, culture, nature and the spiritual. His artworks are poetic assessments of a sense of place, landscape, aging, memory and the passing of time.
The exhibition travels to the Telfair Museum of Art in Savannah, Ga. (May 14, 2008 – Sept. 28, 2008) and the Cheekwood Botanical Garden and Museum of Art in Nashville (March 14, 2009 – June 14, 2009).
Passing Time: The Art of William Christenberry is organized by the Smithsonian American Art Museum. The exhibition's tour is supported in part by the C. F. Foundation, Atlanta and the William R. Kenan Jr. Endowment Fund.
Over the Top: American Posters from World War I
Over the Top: American Posters from World War I features fifty-nine war bond posters, focusing on the four Liberty Loan campaigns, the War Savings Stamp program, the Victory Loan and support for the Red Cross. These persuasive images, with bold graphics and concise commands, encouraged citizens to support the troops, contribute to the Red Cross and buy bonds to finance America's participation in the war. The posters, selected from the collection of Thomas and Edward Pulling, are a fascinating window into the American experience in the early twentieth century.
The exhibition will travel to the Norman Rockwell Museum in Stockbridge, Mass. (Nov. 8, 2008 – Jan. 25, 2009)
Over the Top: American Posters from World War I is organized by the Smithsonian American Art Museum. The exhibition's tour is supported in part by the C.F. Foundation, Atlanta and the William R. Kenan Jr. Endowment Fund.
Back to: Top
Pictured
top
:
Aaron Douglas, The Creation, 1935, oil on Masonite, 48 x 36 in. (121.9 x 91.4 cm), Howard University Gallery of Art, Washington, D.C.
Pictured
second
:
Stanley Lechtzin, "Torque 22-D" Neckpiece, 1971, sterling silver and polyester resin, Museum of Fine Arts, Houston; Helen Williams Drutt Collection, gift of the Morgan Foundation, 2002.3916, © Stanley Lechtzin
Pictured
third
:
Lincoln's inaugural ball, March 6, 1865, Illustration from Illustrated London News, April 8, 1865, National Portrait Gallery, Smithsonian Institution
Pictured
fourth
:
Jules Olitski, Cleopatra Flesh, 1962, synthetic polymer paint on canvas, 104 x 90 in., The Museum of Modern Art, New York; gift of G. David Thompson, 1964 (262.1964) © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY © Jules Olitski/Licensed by VAGA, New York, NY. Courtesy of the American Federation of Arts
Pictured
fifth
:
Chiura Obata, Before Thunderstorm, Tuolumne Meadows, 1930, color woodcut on paper, image: 11 x 15 5/8 in. (27.9 x 39.8 cm)
, Smithsonian American Art Museum, Gift of the Obata Family
Pictured
sixth
:
Barbara Bosworth, National Champion Valley Oak, California, 1994, 1994, gelatin silver print on paper, image: 9 1/2 x 23 1/8 in. (24.1 x 58.7 cm), Smithsonian American Art Museum, Gift of Haluk Soykan and Elisa Frederickson
Pictured
seventh
:
Georgia O'Keeffe, Black Mesa Landscape, New Mexico/Out Back of Marie's II, 1930, oil on canvas, 24 1/4 x 36 1/4 in., Georgia O'Keeffe Museum, gift of The Burnett Foundation © Georgia O’Keeffe Museum
Pictured
eighth
:
Frank Gohlke, Grain elevator and lightning flash, Lamesa, Texas, 1975, gelatin silver print ©
1975 Frank Gohlke. Amon Carter Museum, Fort Worth, Texas
Pictured
ninth
:
Wayne Thiebaud, Neapolitan Meringue, 1986/1999, pastel over trial proof lithograph, 14 x 16 1/2 in. (35.6 x 41.9 cm), Smithsonian American Art Museum, Gift of Warren Unna, Terry and Margaret Stent, and the Thiebaud Family, and museum purchase in honor of Nan Tucker McEvoy
Pictured
tenth
:
Mary Van Cline, The Listening Point, 1999, photosensitive cast glass and black pate de verre, 25 1/2 x 20 5/16 x 4 in. (64.8 x 51.6 x 10.2 cm), Smithsonian American Art Museum, Gift of the James Renwick Alliance
Pictured
eleventh
:
William T. Wiley, Portrait of Radon, 1982, watercolor and felt-tipped pen and ink on paper, sheet: 22 1/4 x 29 7/8 in. (56.5 x 75.9 cm), Smithsonian American Art Museum, Museum purchase
Pictured
twelfth
:
Sean Scully, Day, 2005, aquatint, sugarlift, and spitbite on paper, plate: 14 7/8 x 18 in. (37.8 x 45.7 cm), Smithsonian American Art Museum, Gift of the artist
Pictured
thirteenth
:
Elihu Vedder, (Illustration for Rubáiyát of Omar Khayyám) The Cup of Death, 1883-1884, chalk, pencil and ink on paper, sheet: 19 3/8 x 14 7/8 in. (49.1 x 37.7 cm), Smithsonian American Art Museum, Museum purchase and gift from Elizabeth W. Henderson in memory of her husband Francis Tracy Henderson
Pictured
#tombcount#th
:
Earl Cunningham, Blue Sail Fleet Returns, after 1949, oil on fiberboard, 16 1/2 x 36 1/4 in. (41.8 x 92.1 cm), Smithsonian American Art Museum, Gift of Mr. and Mrs. Michael Mennello
Pictured
#tombcount#th
:
William Christenberry, Alabama Wall I, 1985, metal and tempera on wood, 45 3/8 x 50 1/2 in. (115.3 x 128.3 cm.), Smithsonian American Art Museum, Museum purchase
Pictured
bottom
:
Sidney H. Riesenberg, Over the Top for You, 1918, 30 x 20 in. (76.2 x 50.8 cm), Lent by Thomas L. and Edward L. Pulling