Welcoming Nara Park and Ellington Robinson to the Collection

Ellington Robinson (left) and Nara Park (right) discuss their work at the Phillips

Ellington Robinson (left) and Nara Park (right) discuss their work at the Phillips

On Thursday, August 23, the Phillips welcomed Nara Park and Ellington Robinson to discuss their artworks which were recently acquired by the museum through the Contemporaries Acquisition Fund. The artworks were selected for acquisition by the Contemporaries Steering Committee, with the guidance of Senior Curator of Modern and Contemporary Art Vesela Sretenović and the approval of the Director.

The Contemporaries Acquisition Fund was established in 1996 as a way to create deeper engagement with young professionals with philanthropic aspirations and interest in contemporary art and collecting. By participating first-hand in the museum acquisition process, young patrons gain experience in collecting practices while also helping expand the Phillips’s permanent holdings. Active through 2008, the Fund amassed more than 20 works of art—mostly photography—that date from the early to mid-20th century. The Fund was reinstated in 2017 with an aim to further grow the collection with contemporary artworks.

Visit the Phillips to see the new works along with photographs acquired by the Contemporaries over the years. For information about the Contemporaries—the Phillips’s young professionals group—visit PhillipsCollection.org/contemporaries or contact membership@phillipscollection.org.

Nara Park, Senior Curator of Modern and Contemporary Art Vesela Sretenović, and Ellington Robinson

Left to right: Nara Park, Senior Curator of Modern and Contemporary Art Vesela Sretenović, and Ellington Robinson. Photo: Ray A. Llanos, 2018 (All rights reserved. ray@rayllanos.com @rayllanos)

Disillusioned I by Nara Park

Nara Park, Disillusioned I, 2017, Plastic laminate and monofilament, 105 x 13 1/2 x 13 1/2 in. Contemporaries Acquisition Fund, 2018

Never Forget On Ice by Ellington Robinson

Ellington Robinson, “Never Forget” on Ice, 2013, Acrylic, collage, found objects, and glue on vintage mirror, 38 x 53 x 2 in. Contemporaries Acquisition Fund, 2018

Ascending the House Staircase: Milton Avery’s Literary Women

Left: Milton Avery, Girl Writing, 1941, Oil on canvas, 48 x 31 3/4 in. The Phillips Collection, Acquired 1943; Right: Milton Avery, March on the Balcony, 1952, Oil on canvas, 44 x 34 in., The Phillips Collection, Acquired 1961

Works by Milton Avery in the Phillips House stairwell. Left: Milton Avery, Girl Writing, 1941, Oil on canvas, 48 x 31 3/4 in. The Phillips Collection, Acquired 1943; Right: Milton Avery, March on the Balcony, 1952, Oil on canvas, 44 x 34 in., The Phillips Collection, Acquired 1961

Leaving the oak-paneled entry hall of the Phillips’s home and ascending up the main staircase leads to two paintings that appear to be in conversation. Both are works by American artist Milton Avery (1885-1965), and both contemplate similar visual practice. One first encounters Girl Writing, which has visibly brushed earth tones and a closely focused figure. The perspective is unclear, yet seemingly from below, falling into step with the viewer peering upward at the disorienting scene; it has an aura of a false, created space. Continuing up the staircase, there is a second woman seemingly in tandem with the first—they are aligned at eye level. These paintings have a compelling contrast between dimensions, in some areas three dimensional, in others, entirely flat. Conveyed through blocks of color, there is a certain strength asserted through deliberate, unapologetic flatness.

These two women are portrayed in mirroring profiles, and are lost in deep thought. Both are participating in literary acts: one is writing, the second reading. The second woman is March on the Balcony, and though similar in stature to Girl Writing, this painting differs in its bold, less naturalistic hues that are not contained to the surroundings—March, the artist’s daughter, is rendered in shades of yellow and scarlet. Here, the brushstrokes are minimized, giving the effect of pure, flat fields of color that stray from the naturalistic. This leads the viewer to stop, to consider the scene as a whole, and to seek understanding through the eyes of the artist.

This through-the-window perspective is not uncommon, most recognizably seen in paintings by Matisse; however, Avery’s approach differs. While the view through the window may seem to be the focus of the painting, with a pale blue sail commanding the central space, the attention appears to be more so given to the interior, as the eye is instead drawn to the downward-gazing figure of March. She exists in a more three-dimensional space, a reality that looks out upon an imagined state of pastel waves.

While March on the Balcony holds a clear perspective point, Girl Writing leaves the viewer disoriented; unlike the window scene, there is no clear division between the three-dimensional and the flat. Instead, there is a sense of displacement, of searching for logical space in a painting devoid of it. Gravity dissipates, leaving the viewer with only color and form to interpret Avery’s created reality.

Olivia McCall, Director’s Office Intern

The Great Salt Lake Tjitjiti in Carlene West’s Paintings

Installation view of Carlene West’s work in Marking the Infinite.

Whereas Carlene West’s early work conforms closely to traditional iconography, after returning to Tjitjiti in 2009— the first time since her childhood—her style underwent a rapid transformation. Formal symbolic and narrative elements receded, giving way to more expressive painting. Depicted in swaths of white, the great salt lake Tjitjiti also found greater prominence. West’s paintings offer a metaphor for the connection between place and Indigenous identity. Anthropologist John Carty notes, “Carlene’s marks are the traces of meaningful action; of the actions that made the world, and that continue to make the world meaningful; of the artist becoming an ancestor.”

This work is on view in Marking the Infinite: Contemporary Women Artists from Aboriginal Australia through September 9, 2018.