In museum’s redesigned modern and contemporary galleries, pop art is out, and such major artists as Diebenkorn, Ruscha and Thiebaud are erased, along with California.
Nam June Paik's “Electronic Superhighway: Continental U.S., Alaska, Hawaii” is one of the monumental works that anchor the Smithsonian American Art Museum's newly renovated and installed modern and contemporary galleries. For the first time since 2006, when it reopened after a major renovation to its home in the Old Patent Office Building, thehas redesigned and reinstalled its collection of modern and contemporary art.
“It would be too simplistic to reduce the development of American art to a linear series of artistic movements since it is a messy, dynamic, ever-evolving history,” museum directorsaid in a statement. The curators have pushed the erasure of chronology and “movements” further than other museums. A single, small gallery deals with what was once considered the dominant American contribution to 20th-century art — abstract expressionism — and another takes up feminist art.
There is much that is satisfying in the renovated space, and many of the artists new to the galleries are welcome additions. Grace Hartigan and Carmen Herrera should have been here long ago. It’s good to see a fine, sensitive abstraction by Mary Pinchot Meyer, given how her art has been overshadowed by her personal life and death at age 43 . Audrey Flack’s 1976 “Queen,” a painterly study in signs and symbols acquired last year, is a happy discovery.
Style is where The Washington Post covers happenings on the front lines of culture and what it all means, including the arts, media, social trends, politics and yes, fashion, all told with personality and deep reporting. For more Style stories,Perhaps pop art disappeared not because it is overrepresented, but because it dealt directly with issues of consumerism and capitalism.
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