SAAM Stories

A grammar maven and self-described “vituperative right-wing scandalmonger,” former New York Times opinion columnist William Safire is not your typical arts advocate. But Safire wants you to rethink not only the politics of art but art itself, according to Philip Kennicott’s Washington Post write-up of the 19th annual Nancy Hanks Lecture on Arts and Public Policy.

How does SAAM move a monumental artwork into the museum? Watch this video to find out!

Grant Wood’s iconic work, American Gothic, makes a return visit to Washington for the first time in 40 years. See it—along with lesser-known gems, such as Corn Cob Chandelier— in Grant Wood’s Studio: Birthplace of American Gothic.

A small crowd gathered in our offices this morning to watch Scott Rosenfeld, SAAM's lighting designer, play with this funky new light fixture. Instead of a halogen or incandescent bulb, it has an array of colored LED's and a control panel with sliders that manipulate the color balance of the light. It's surprisingly bright, and it reminded many of us of a cross between a (very, very intense) disco light and a Lite-Brite, if you remember those.

These days biennials are met as often with fanfare as with handwringing about the state of the curated art survey. Mark Stevens discusses this year’s curator–critic matchup in his New York Magazine pregame analysis of the 2006 Whitney Biennial, “Day for Night,” which opens March 2.

In light of the recent passing of both Rosa Parks and Coretta Scott King, Americans may take solace that some progress has been made toward realizing an institution that will pay tribute to them both: the National Museum of African American History and Culture (NMAAHC).

This timelapse video shows SAAM staffers Caroline Little and Dale Hunt installing one of the first cases in our new Luce Foundation Center for American Art.

As I'm sure many readers know by now, the tremendous video and Fluxus artist Nam June Paik died last month at the age of 74. Of his many works that have been discussed both in the press and the blogosphere over the last two weeks, one especially comes to mind now that the winter Olympics have begun: the more the better. An installation comprising 1,003 screens, the work was staged in honor of the 1988 Olympics in Seoul.

Over the last few months no fewer than three local exhibitions have featured works by Margaret Boozer, giving viewers ample opportunity to think and rethink about her work.

Roberta Smith, art critic for the New York Times, spoke on October 5, 2005 as part of the Clarice Smith Distinguished Lectures in American Art series, sponsored by the Smithsonian American Art Museum.

Late Friday we got word that Eye Level is a finalist for a South by Southwest Interactive Web Award in the Blog category. SXSW defines this category as "Sites that revolutionize the power of publishing by providing regularly updated content of a personal or professional nature."

And the 14 nominees for the 2006 Smithsonian American Art Museum Lucelia Artist Award are:

I think it's a safe bet that there will be 50 to 60 new and bona fide (i.e., seriously authored by qualified people) art world blogs by the end of the year. Why is this significant? In some cases, the blogs may speed up the infotainment machine that's impacting the actual, hands-on, real-world art scene, locally and internationally.

When I take my roadtrip one day through the American Southwest to see its many site-specific earth artworks, the last stop will be the furthest frontier in American earth art: Joshua Tree, California.

There’s a discussion buzzing on the Eye Level backend about Caravaggio: una mostra impossible, the “impossible” Caravaggio exhibit at the Loyola University Museum of Art in Chicago. The exhibit features 57 backlit digital reproductions of works by the artist—masterpieces, all, that surely could never be seen together in any one place at any one time. Some of us are quite critical of this exhibit, while others are ready hitch a ride to Chicago to see the show and buy the T-shirt.

Today, an introduction to one of the first exhibitions to be installed: Passing Time: the Art of William Christenberry. Christenberry works in a variety of media including painting, photography, and sculpture, often using the rural landscape of his native Alabama as his subject.

I TiVoed Imagining America: Icons of 20th-Century American Art but didn’t have the time to sit down and watch it before I set off for a vacation in Texas.

I don’t consider Dutch Design to be design generated in the Netherlands. I consider Dutch Design a kind of work, or an attitude about work, or even a brand of work, that could theoretically occur anywhere at anytime.