What Does It Take to Get Art Into the Smithsonian?

Museum in Washington, D.C., United States

Smithsonian American Art Museum

Lincoln Gallery
Location in Washington, D.C.
Established	1829[1]
Location	8th & F Streets NW, Washington, D.C.[2]
Coordinates	38°53′52″N 77°01′24″W  /  38.89778°N 77.02333°Westward  / 38.89778; -77.02333 Coordinates: 38°53′52″N 77°01′24″Due west  /  38.89778°North 77.02333°W  / 38.89778; -77.02333
Type	Art museum
Visitors	i.2 million (2013)[3]
Director	Stephanie Stebich[four] [5] [six] [vii]
Public transit access	Gallery Identify-Chinatown
Website	americanart.si.edu

The Smithsonian American Fine art Museum (commonly known as SAAM, and formerly the National Museum of American Art) is a museum in Washington, D.C., office of the Smithsonian Establishment. Together with its branch museum, the Renwick Gallery, SAAM holds one of the world'southward largest and most inclusive collections of art, from the colonial period to the present, made in the Us. The museum has more 7,000 artists represented in the collection. About exhibitions take identify in the museum's main edifice, the old Patent Office Building (shared with the National Portrait Gallery), while craft-focused exhibitions are shown in the Renwick Gallery.

The museum provides electronic resources to schools and the public through its national teaching programme. It maintains 7 online research databases with more than than 500,000 records, including the Inventories of American Painting and Sculpture that document more than 400,000 artworks in public and private collections worldwide. Since 1951, the museum has maintained a traveling exhibition program; as of 2013, more than ii.five one thousand thousand visitors take seen the exhibitions.

History [edit]

The museum'due south history can be traced to the creation of the Smithsonian Institution in 1846. The act of Congress establishing the Smithsonian chosen for it to include "a gallery of art".^[eight] In its early years, however, petty effort was put into developing the art drove, equally Smithsonian Secretary Joseph Henry preferred to focus on scientific research.^{[ix] [x]} The collection was first on display in the original Smithsonian Edifice (now known equally the Castle). In 1865, a burn destroyed much of the collection.^[eleven] Those art holdings that survived were mostly loaned to the Library of Congress and the Corcoran Gallery of Art in the following decades.^[12] In 1896, the artworks were brought back to the Smithsonian, subsequently Congress appropriated money to construct a fireproof room for them.^[xiii]

The Smithsonian began to refer to its fine art drove as the National Gallery of Art in 1906, in connection with efforts to receive Harriet Lane Johnston's art collection, which she had bequeathed to the "national art gallery".^[xiv] The drove grew every bit the Smithsonian buildings grew, and the drove was housed in ane or more Smithsonian buildings on the National Mall.^[3]

In 1920, the National Gallery of Art was separated from the National Museum, becoming its ain branch of the Smithsonian, with William Henry Holmes every bit its first director.^{[15] [16]} Past this time, space had go disquisitional: "Collections to the value of several millions of dollars are in storage or temporarily on exhibition and are crowding out important exhibits and producing a congested status in the Natural History, Industrial Arts, and Smithsonian Buildings".^[17] In 1924, architect Charles A. Platt drew up preliminary plans for a National Gallery of Art to exist built on the block adjacent to the Natural History Museum.^[17] Notwithstanding, this building was never synthetic.^[18]

In 1937, the National Gallery of Art became the National Collection of Fine Arts (NCFA), because Andrew Mellon insisted that the previous moniker exist given to a new institution formed through his donation of a big art collection.^{[xix] [xx] [21]}

Past the 1950's, the NCFA nevertheless occupied a pocket-sized space in the Natural History Edifice.^[22] In 1958, Congress finally granted the NCFA a home, the Former Patent Office Edifice, which was about to be vacated by the U.S. Civil Service Commission.^{[22] [23]} The building would exist shared with the planned National Portrait Gallery, with the NCFA occupying the northern half of the building.^{[24] [25]} Renovation work on the edifice began in 1964.^[26] The NCFA opened in its new dwelling house on May 6, 1968.^[27]

The museum's relocation came at an unfortunate time, as the neighborhood had been devastated a month before by the Martin Luther King assassination riots.^[28] The NCFA struggled to attract visitors over the post-obit decades, as the streets around information technology remained bleak and lonely.^[29] This would remain a gene until the late 1990'south, when the piece of work of the Pennsylvania Artery Development Corporation and the opening of the MCI Center (now Capital One Arena) across the street from the museum sparked a revitalization of the neighborhood.^[30]

The NCFA gained a new co-operative in 1972, opening the Renwick Gallery, dedicated to pattern and crafts, in a celebrated edifice near the White House.^[31]

In 1980, the name was changed to the National Museum of American Art, to better distinguish information technology from other federal fine art museums and to emphasize its focus on American artists.^{[32] [33]}

In January 2000, the museum airtight to begin a planned three-year, $threescore-1000000 renovation of the Patent Office Edifice.^[34] To keep the museum's collection accessible to the public during the closure, many of the artworks were sent out in a "Treasures to Go" series of traveling exhibitions, billed as "the largest museum bout in history".^{[35] [36]} The museum'southward name was changed to the Smithsonian American Fine art Museum in October 2000 so that the museum and its traveling exhibitions could benefit from the Smithsonian's brand recognition.^[37]

Later renovations were underway, the plans were broadened in an effort to restore much of the building's original elegance.^[38] Many of the building'southward exceptional architectural features were restored: porticos modeled later the Parthenon in Athens, a curving double staircase, colonnades, vaulted galleries, large windows, and skylights as long as a metropolis block.^{[39] [twoscore] [7]} New features added to the edifice included the Lunder Conservation Center, the Luce Foundation Heart for American Art, Nan Tucker McEvoy Auditorium, and the Robert and Arlene Kogod Courtyard.^[40] Meanwhile, the museum's offices, library, and storage were moved to the nearby Victor Edifice, freeing up valuable space and allowing the museum to display 4 times as many artworks as before.^{[34] [41]} The renovation ultimately took six years and $283 million.^[42] The museum and the National Portrait Gallery reopened their combined building, renamed as the Donald W. Reynolds Centre for American Art and Portraiture, on July ane, 2006.^[43]

The Smithsonian American Fine art Museum's main building is shared with the National Portrait Gallery, as seen from G Street NW in 2011

Affiliated museums [edit]

National Portrait Gallery [edit]

The Smithsonian American Fine art Museum shares the historic Old Patent Function building with the National Portrait Gallery, another Smithsonian museum. Although the two museums' names take not inverse, they are collectively known every bit the Donald W. Reynolds Centre for American Art and Portraiture.^{[39] [44]}

Renwick Gallery [edit]

Also under the auspices of the Smithsonian American Art Museum, the Renwick Gallery is a smaller, historic edifice on Pennsylvania Avenue across the street from the White House.^[45] The building originally housed the drove of the Corcoran Gallery of Art.^{[45] [46]} In addition to displaying a big collection of American contemporary craft, several hundred paintings from the museum's permanent collection — hung salon style: one-atop-some other and side-by-side — are featured in special installations in the Grand Salon.^[45]

Features and programs [edit]

Collections [edit]

Part of the Smithsonian Institution, the museum has a wide variety of American art, with more than than 7,000 artists represented,^[47] that covers all regions and art movements establish in the U.s.a.. SAAM contains the world's largest collection of New Deal fine art; a drove of contemporary craft, American impressionist paintings, and masterpieces from the Gilded Age; photography, modern folk art, works by African American and Latino artists, images of western expansion, and realist art from the showtime one-half of the twentieth century. Among the significant artists represented in its drove are Nam June Paik, Jenny Holzer, David Hockney, Georgia O'Keeffe, John Vocalizer Sargent, Albert Pinkham Ryder, Albert Bierstadt, Frances Farrand Dodge, Edmonia Lewis, Thomas Moran, James Gill, Edward Hopper, John William "Uncle Jack" Dey, Karen LaMonte^[48] and Winslow Homer.^[iii]

SAAM describes itself as being "dedicated to collecting, understanding, and enjoying American art. The museum celebrates the extraordinary creativity of artists whose works reverberate the American feel and global connections."^[49]

Galleries and public spaces [edit]

The American Art's chief edifice contains expanded permanent-drove galleries and public spaces.^[50] The museum has two innovative public spaces. The Luce Foundation Heart for American Fine art is a visible art storage and written report center, which allows visitors to scan more than iii,300 works of the collection.^[l] The Lunder Conservation Middle is "the first art conservation facility to allow the public permanent behind-the-scenes views of the preservation work of museums".^[l]

The Luce Foundation Heart for American Art [edit]

The Luce Foundation Center for American Art on the third floor of the Smithsonian American Art Museum.

The Luce Foundation Heart, which opened in July 2000,^{[51] [52]} is the first visible art storage and written report center in Washington, D.C.^[39] and the 4th middle to behave the Luce Family name.^{[39] [53]} It has 20,400 foursquare anxiety on the third and fourth floors of American Art Museum.^{[39] [54] [55] [56]}

It presents more than 3,300 objects in 64 secure glass cases, which quadruples the number of artworks from the permanent drove on public view.^{[51] [39]} The purpose of open up storage is to allow patrons to view diverse niche art that is unremarkably not part of a primary exhibition or gala special.^[54] The Luce Foundation Center features paintings densely hung on screens; sculptures; crafts and objects by folk and self-taught artists arranged on shelves.^{[57] [58]} Large-scale sculptures are installed on the beginning floor.^[51] The center has John Gellatly's European collection of decorative arts.^{[39] [56]}

Lunder Conservation Center [edit]

Lunder Conservation Heart Laboratory where the public is shown behind-the-scenes views of essential fine art preservation work.

The Lunder Conservation Middle, which opened in July 2000,^[59] is the starting time art conservation facility that allows the public permanent backside-the-scenes views of preservation work.^[59] Conservation staff are visible to the public through floor-to-ceiling drinking glass walls that allow visitors to see immediate all the techniques which conservators use to examine, treat, and preserve artworks.^{[60] [59] [61]} The Lunder Center has five conservation laboratories and studios equipped to treat paintings, prints, drawings, photographs, sculptures, folk art objects, contemporary crafts, decorative arts, and frames.^{[lx] [59]} The Center uses various specialized and esoteric tools, such as hygrothermographs, to maintain optimal temperature and humidity to preserve works of fine art. Staff from both the Smithsonian American Art Museum and the National Portrait Gallery work in the Lunder Center.^[59]

Selected exhibitions [edit]

The museum has put on hundreds of exhibitions since its founding. Many exhibitions are groundbreaking and promote new scholarship within the field of American art.

What follows is a brief listing of selected, and more than contempo, examples:^[62]

• Ginny Ruffner: Reforestation of the Imagination (2019-2020)
• Michael Sherrill Retrospective (2019-2020)
• American Myth & Retentiveness: David Levinthal Photographs (2019-2019)
• Artists Respond: American Art and the Vietnam War, 1965-1975 (2019-2019)
• Disrupting Craft: Renwick Invitational 2018 (2018-2019)
• Between Worlds: The Art of Bill Traylor (2018-2019)
• Trevor Paglen: Sites Unseen ^[63] (2018-2019)
• Diane Arbus: A box of 10 photographs ^[64] (2018-2019)
• No Spectators: The Art of Burning Human being ^[65] (2018-2019)
• Do Ho Suh: Near Domicile ^[66] (2018)
• Tamayo: The New York Years ^[67] (2017-2018)
• Murder Is Her Hobby: Frances Glessner Lee and The Nutshell Studies of Unexplained Expiry ^[68] (2017-2018)
• Kara Walker: Harper's Pictorial History of the Civil War (Annotated) ^[69] (2017-2018)
• Down These Mean Streets: Customs and Place in Urban Photography ^[70] (2017)
• June Schwarcz: Invention and Variation ^[71] (2017)
• Gene Davis: Hot Beat ^[72] (2016-2017)
• Isamu Noguchi, Archaic/Mod ^[73] (2016-2017)
• Harlem Heroes: Photographs by Carl Van Vechten ^[74] (2016-2017)
• Visions and Revisions: Renwick Invitational 2016 ^[75] (2016)
• Artworks by African Americans from the Collection ^[76] (2016)
• The Art of Romaine Brooks ^[77] (2016)
• Ralph Fasanella: Lest We Forget (2014)
• Modern American Realism: The Sara Roby Foundation Collection (2014)
• Popular Art Prints (2014)
• Our America: The Latino Presence in American Art (2013)
• Landscapes In Passing: Photographs by Steve Fitch, Robbert Flick, and Elaine Mayes (2013)
• A Commonwealth of Images: Photographs from the Smithsonian American Art Museum (2013)
• Nam June Paik: Global Visionary (2012)
• The Civil State of war and American Art (2012)
• 40 under forty: Craft Futures (2012)
• African American Art: Harlem Renaissance, Civil Rights Era, and Beyond (2012)
• The Fine art of Video Games (2012)
• Annie Leibovitz: Pilgrimage (2011)
• Multiplicity (2011)
• The Great American Hall of Wonders (2011)
• Something of Splendor: Decorative Arts from the White House (2011)
• Alexis Rockman - A Legend for Tomorrow (2010)
• The West As America (1991)
• Sandra C. Fernández: The Rise and Impact of Chicano Graphics

Outreach [edit]

The museum has maintained a traveling exhibition program since 1951. During the 2000s renovation, a "series of exhibitions of more than 1,000 major artworks from American Art's permanent drove traveled to 105 venues beyond the U.s.," which were "seen by more than 2.5 million visitors". Since 2006, thirteen exhibitions have toured to more than 30 cities.^[78]

SAAM provides electronic resource to schools and the public every bit function of education programs. An example is Aesthetic Connections, which gives real-fourth dimension video conference tours of American Art. In addition, the museum offers the Summer Institutes: Teaching the Humanities through Fine art, week-long professional development workshops that introduce educators to methods for incorporating American fine art and technology into their humanities curricula.^[79]

American Art has vii online inquiry databases, which has more than than 500,000 records of artworks in public and private collections worldwide, including the Inventories of American Painting and Sculpture. Numerous researchers and millions of virtual visitors per year apply these databases. Likewise, American Art and Heritage Preservation work together in a joint project, Save Outdoor Sculpture, "dedicated to the documentation and preservation of outdoor sculpture". The museum produces a peer-reviewed journal, American Art (started in 1987), for new scholarship. Since 1993, American Art has been had an online presence. It has ane of the earliest museum websites when, in 1995, it launched its ain website. EyeLevel, the first weblog at the Smithsonian Establishment, was started in 2005 and, as of 2013, the blog "has approximately 12,000 readers each month".^[lxxx]

In popular civilization [edit]

In 2006, fashion designer Isaac Mizrahi designed the conservators' denim work aprons.^{[61] [81] [82]}

In 2008, the American Art Museum hosted an alternate reality game, called Ghosts of a Adventure, which was created past City Mystery. The game allowed patrons "a new way of engaging with the collection" in the Luce Foundation Center. The game ran for six weeks and attracted more than six,000 participants.^[56]

Come across also [edit]

• List of virtually-visited fine art museums
• List of most-visited museums in the The states

References [edit]

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70. ^ "Down These Mean Streets: Community and Place in Urban Photography". Smithsonian American Fine art Museum.
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External links [edit]

• Official website
• Luce Foundation Middle at SAAM
• Lunder Conservation Center at SAAM
• Rosenbaum, Lee (Aug 29, 2006). "Smithsonian American Art Museum". Wall Street Journal.

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Source: https://en.wikipedia.org/wiki/Smithsonian_American_Art_Museum

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