Howard Kaplan

This is the fifteenth in a series of personal observations about how people experience and explore museums. Take a look at Howard's other blog posts about seeing things.

"Years ago when we started looking at LEDs they just weren't ready for use in museums," says Scott Rosenfeld, lighting director at the Smithsonian American Art Museum and the Renwick Gallery. In 2010, Rosenfeld set out to see what he could learn about LED lighting and apply it to the museum. All lighting within the galleries and public spaces in the recently renovated Renwick was converted to LED after extensive research, testing, and prototype development.

Photographer Irving Penn, who died in 2009, and whose work is featured in the current exhibition, Irving Penn: Beyond Beauty, combined fashion, art, and photography to create a style uniquely his own. He not only walked the line between the artistic and the commercial worlds, he led the way.

On Saturday afternoon, artist Chakaia Booker and curator E. Carmen Ramos spoke in the Renwick Gallery's Grand Salon about Booker's work, process, and Anonymous Donor her sculpture/installation in the current exhibition, WONDER.

Nicholas Bell, The Fleur and Charles Bresler Curator-in-Charge at the Renwick Gallery, spoke the other day about the exhibition WONDER, what led to its creation, the commonalities and differences among the artists, and how "wonder" has always been a part of the DNA of the museum and the works on view.

Five Georgia O'Keeffe paintings in the current exhibition, Cross Currents: Modern Art from the Sam Rose and Julie Walters Art Collection, create a mini exhibition in themselves.

Ten years ago, November 29, 2005 to be exact, SAAM launched Eye Level, the first museum blog at the Smithsonian. It's given us the ability to tell stories and show people the museum from the inside out.

After extensive renovations to the galleries and behind-the-scenes mechanicals, the Renwick Gallery of Art reopens to the public today with WONDER.

As the final speaker in this year's Clarice Smith Lecture Series, noted scholar Lawrence Weschler presented a talk on race relations in the United States, using Ed Kienholz's Five Car Stud as the mirror in which this difficult history is reflected and refracted.

hough billed as a renovation, I like to think of the reopening of the Renwick Gallery as a reimagining as well. The newly spiffed up Renwick is in mint condition, ready for the next fifty years, or more. In addition to the physical updates that include preserving numerous historical elements with new state-of-the-art infrastructure, the gallery reopens on November 13 with it's inaugural exhibition in our new space, Wonder.

One word that comes to mind when visiting the newly opened exhibition, Crosscurrents: Modern Art from the Sam Rose and Julie Walters Collection, is liberation. It's not just one generation breaking from the one before, it's a sense that the modern twentieth century opened a world never before imagined.

"Irving Penn: Beyond Beauty" is the first museum retrospective of Penn's work in more than twenty years. It opens Friday, October 23 at the Smithsonian American Art Museum and runs until March 20, 2016.

Art critic of the Los Angeles Times since 1989, Christopher Knight, the second speaker in this year's Clarice Smith Distinguished Lecture series, illuminated the life, work—and hair pieces—of Andy Warhol.

Artist Trevor Paglen spoke last week in the Clarice Smith Distinguished Lecture Series, and said his goal as an artist is to “help us see the historical moment we live in.” Paglen made a case that this is true for all art over time, no matter the time period, and showed examples from Turner to Rothko, leading up to present times.

Text Rain, the video work from 1999, by Romy Achituv and Camille Utterback is featured in the current exhibition, Watch This! Revelations in Media Art, which remains on view at SAAM through September 7.

The best place to watch afternoon thunderstorms in D.C.? Hands down, it's the third floor of American Art, a special corner in the current exhibition, Watch This! Revelations in Media Art. Cloud Music, created between 1974-1979 by artists Robert Watts, David Berhman, and Bob Diamond is a weather-driven audio/visual installation that reads the sky like it's a musical score.

The ghosts, the commuters, the visitors, the stories...they all pass across the screen in Jim Campbell's Grand Central Station #2, a poetic meditation on movement and memory. On view in the exhibition, Watch This: Revelations in Media Art, Campbell's LED-based work features shadows that move across the floor of New York's Grand Central Station.

Russell Connor was an abstract painter, happily minding his own business, when in Boston in 1969, he met media visionary, Nam June Paik. As Connor told us the other night at a program in honor of Paik's birthday.

This is the fourteenth in a series of personal observations about how people experience and explore museums. Take a look at Howard's other blog posts about seeing things. Today, celebrating Christo's 80th birthday and a look at his Running Fence.

On Monday, April 20, at 6pm in American Art's McEvoy Auditorium, artist Mark Bradford will be discussing his Amendment series in the third annual James Dicke Contemporary Artist Lecture.