I'm throwing this one back five years to one of my favorite stories from one of my favorite poets that was originally posted in 2013. It comes with all good wishes from the blog for a wonderful, story-filled, Happy New Year.
The other day, my colleague, Libby, and I walked through the museum in search of an artwork we could talk about. And though each artwork has a story to tell, Lava Thomas's "Requiem for Charleston," the artist's response to the church massacre at Mother Emanuel in 2015, spoke the most to us, in a quietly powerful way (if such a thing is possible).
David Best creates temples for Burning Man that are made of recycled wood that are ritually burned at the end of the annual festival. In this video Best discusses the Temple he created for the Renwick Gallery’s Bettie Rubenstein Grand Salon, as a sacred space for people to reflect on loss.
New York City sparked Mexican artist Rufino Tamayo's imagination during his early visits in the 1920s and 1930s. At the time, Manhattan was a burgeoning new hub for the art world that welcomed artists from all over and supported cross-cultural exchanges.
You step out onto the edge of the platform and you wait. You look towards the end of the tunnel and see lights flicker in the distance and the rumblings of what sound like a train approaching. But how far away is it?
Helen B. Bechtel, independent curator and coordinator of the installation, Parallax Gap, fills us in on the relationship between architecture and American craft. Parallax Gap remains on display at the Renwick Gallery through February 11, 2018.
On view in our current exhibition at the Renwick Gallery, Peter Voulkos: The Breakthrough Years, are three of the artist's large-scale paintings: Blue Remington, Red Through Black #3, and Falling Red. Some people may be surprised to find paintings in Voulkos' oeuvre, but that's what makes their discovery (at least for me) all the more exciting.