Instagrammer @rhiannonnewman snapped this photo of Bettina Pousttchi with her installation during a recent gallery talk with the artist
In this month’s ArtGrams, we’re sharing your photos from Bettina Pousttchi’s recently installed Intersections exhibition Double Monuments. It’s fascinating how this installation can look light-drenched and inviting in one moment, dark and ominous the next.
Before the lights are turned on. Photo: IG/davbad
ArtGrams is a monthly series in which we feature our favorite Instagrammed pictures taken around or inspired by the museum. Each month, we’ll feature a different theme based on trends we’ve seen in visitor photos. Hashtag your images with #PhillipsCollection or tag your location for a chance to be featured.
In conjunction with recently opened Karel Appel: A Gesture of Color, Marketing and Communications Intern Olivia Bensimon responds to one of the works of art featured in the exhibition.
Karel Appel, Floating like the Wind, 1975. Oil on canvas, 78 3/4 x 102 3/4 in. Private Collection
What struck me first when I saw this painting was how much it reminded me of two people bickering. The yellow Pac-Man-like shape on the right has its mouth open, as if it was yelling, whereas the red Pac-Man-like shape on the left seems scared or disgruntled. The surrounding shapes might be identified as legs and arms, but I see these “faces” as the focal point. Letting my mind wander, I begin to imagine a more full story for these two characters: the red shape has been taking a nap in some sort of suit, with a blue shirt, white pants, and black shoes. The yellow shape walks in to see the the other lounging around and begins to yell and shake its arms above its head. That’s when the red shape wakes up, confused and also very sleepy.
The title of this painting, Floating like the Wind, could be interpreted in many different ways, but what comes to my mind is that the emotions articulated in the painting are floating like the wind—the dark blue representing sleepiness, the black and red pouring out of the yellow shape’s mouth representing anger and frustration.
Olivia Bensimon, Marketing & Communications Intern
Marjorie Phillips, Night Baseball, 1951. Oil on canvas, 24 1/4 x 36 in. The Phillips Collection, Washington, D.C. Gift of the artist, 1951 or 1952
My favorite work from The Phillips Collection’s permanent collection is Marjorie Phillips’s 1951 oil painting, Night Baseball. There is something nostalgic about the way Phillips represents a night at Griffith Stadium. This visual representation of the moment just before the pitch is thrown evokes all of the other senses. When I look at this painting, I hear the buzz of the crowd and I feel the wind push my skin as the breeze ushers in the smells of the ballpark. Phillips masterfully depicts a night sky that is black but somehow simultaneously glowing from the stadium lights—an effect that is familiar to anyone who has been to a nighttime sports game.
Night Baseball is an enduring snapshot of American life. Perhaps my favorite thing about this piece is its current placement within the museum: on a wall adjacent to the landing of a staircase; the location seems almost incidental. I think its placement adds to its charm—Night Baseball endears itself to the viewer by immersing her in a sensory-rich, familiar American scene.
Lizzie Moore, Marketing & Communications Intern