"Quilt #150: Rehobeth
Meander," Michael James, 1993.
WASHINGTON, D.C. - The Renwick Gallery of the Smithsonian
American Art Museum celebrates the museum's 30th anniversary - as
well as the 20th anniversary of its support group, the James
Renwick Alliance (JRA) - with a new installation of its permanent
collection.
Highlighting clay, fiber, glass, metal and wood, the museum's
acquisition of all of the works represented was made possible by
the JRA. The installation is on display now through the end of
May as part of a rotation of the collection that occurs twice a
year.
"I could not imagine a better way to reflect upon the Renwick's
accomplishments than by exhibiting some of the finest pieces
acquired in the past two decades," said Elizabeth Broun, the
museum's Margaret and Terry Stent Director. According to Kenneth
Trapp curator-in-charge of the Renwick, "I chose this selection
of works because it truly displays the breadth of our collection.
Objects in all media are included, with our 'old friends' that
have withstood the test of time exhibited alongside more recent
acquisitions."
The installation includes work by major artists such as Dale
Chihuly, Michael Frimkess, Mary Lee Hu and John McQueen. Richard
Mawdsley's "Feast Bracelet," 1974, represents one of the earliest
gifts the JRA made to the Renwick in 1983. With silver, jade and
pearls, Mawdsley creates a miniature feast complete with
tableware, pie, wine and food. Nancy Crow's quilt, titled
'Crucifixion," 1977, is one of the most recent acquisitions made
possible by the group in 2001. Crow uses traditional quilting
technique and structure to express her experiences and feelings.
"The Rick Wrigley Renwick Cabinet," 2001, by Rick Wrigley is an
example of superb design and furniture craftsmanship. Created
specifically for the Renwick Gallery and inspired by an 1808-1809
sideboard, this elegant wooden piece displays imagery of two
eagles representing freedom and American politics. The eagles
attack a snake to symbolize the triumph of good over evil.
Michael James explores fiber as a medium in "Quilt #150: Rehobeth
Meander," 1993. The lively, musical quality of the quilt reflects
James' beginnings as a painter. Limited by the canvas, he learned
to quilt, but deviates from traditional quilting and focuses more
on the dynamic play of form, texture and color.
Eric Hilton's "Storm," 1996, conjures images of cosmic events
from a storm on the ocean floor to disturbances in space. A
tight, rigid square exterior contrasts with a soft, mysterious
and organic internal form. Hilton has eliminated all color in the
piece, but at the same time "Storm" reflects the color found in
its setting.
For more information about a variety of programs scheduled in
conjunction with this rotation, including the Thursday at 1 pm
gallery talk series "Take a Break at the Renwick," call
202-633-8070 or visit AmericanArt.si.edu.
The Renwick is on Pennsylvania Avenue at 17th Street NW. Hours
are 10 am to 5:30 pm daily. Admission is free. For information,
202-357-2700.
