Pin To Win: Dream Home of Realities Contest

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Neo-Impressionist painters relied on the use of the surreal grounded in reality to create scenes of mystical, dreamlike beauty. Their use of vibrant colors helped them capture a certain mood and tone. The Phillips Collection wants to know what vibrant colors and textures you would use to decorate your dream home! Enter our Dream Home of Realities Pinterest contest for a chance to win a grand prize that might make the walls of your dream home become a reality.

One grand prize winner will receive:

  • $500 worth of Farrow & Ball gift vouchers
  • A Farrow & Ball color consultation: a personal in-home color consultation with a trained Color Consultant from the new Farrow & Ball DC showroom in Friendship Heights. The Color Consultant will consider the light in the space, the shape of the room and architectural details, as well as the overall look you are trying to create before recommending a color scheme using Farrow & Ball paints and wallpapers.

HOW TO ENTER

1) Follow The Phillips Collection on Pinterest.

2) Create your own “Dream Home of Realities Contest” Pinterest board! Curate a board for your dream home inspired by scenes, colors, and textures in Neo-Impressionism and the Dream of Realities: Painting, Poetry, Music. Think about palette, lighting, mood—when you think of where you’d love to live, what do you see? To qualify for the grand prize, boards must include at least 4 pins from the Phillips’s Neo-Impressionism board and at least 4 pins from Farrow & Ball’s many home inspiration boards, but what you include is up to you—get creative! See our inspiration board here to get those creative pins flowing:

pinterest inspiration board

3) E-mail a link to your completed board to contests@phillipscollection.org with subject line “Dream Home of Realities Submission” to be officially entered into the contest.

The winner will be selected and contacted by January 16, 2015. We’re excited to be #NeoImpressed by your creativity!

 

Images: (1) Paul Signac, Place des Lices, Saint-Tropez, Opus 242, 1893. Oil on canvas, 25 3/4 x 32 1/4 in. Carnegie Museum of Art, Pittsburgh. Acquired through the generosity of the Sarah Mellon Scaife Family. Photograph © 2014 Carnegie Museum of Art, Pittsburgh (2) Georges Seurat, Seascape at Port-en-Bessin, Normandy, 1888. Oil on canvas, 25 1/2 x 32 in. National Gallery of Art, Washington, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, 1972.9.21 (3) Maximilien Luce, The Louvre at the Pont du Carrousel at Night, 1890. Oil on canvas, 25 x 32 in. Private Collection (4) Theo van Rysselberghe, Canal in Flanders (Gloomy Weather), 1894. Oil on canvas, 23 3/4 x 31 1/2 in. Private collection

Pedro Lasch’s Abstract Nationalism / National Abstraction: Part 5

Today artist Pedro Lasch premiered his work Abstract Nationalism/National Abstraction: Anthems for Four Voices at The Phillips Collection as part of the International Forum Weekend in Washington. In this audio-visual performance, national anthems of specific countries are sung in the language of the country listed alphabetically after it in the World Almanac.

In a six part blog series, Curatorial Intern Lauren Reuter asks the artist about this work and how it fits into the Phillips, art, and politics. Read Part 1 herePart 2 here, Part 3 here, and Part 4 here.

How do you envision the project’s relationship with this audience? What do you want your audience to come away with?

I try to make work that is for a wide range of ages and backgrounds. The range is really important to me and the work is designed to do that. And that full range for me also includes the unsuspecting audience member who came either to the International Forum event or came to the Phillips that day and encounters the work; they stumble upon the work and don’t know what the background is. It may be someone who works at the embassies and came to the Phillips, or someone who may have absolutely no interest in national culture or nationalism.

Performance of Abstract Nationalism / National Abstraction

Performance of Pedro Lasch’s Abstract Nationalism / National Abstraction Composition No. 20 and 46 in The Phillips Collection Music Room

But with this project, the raw materials of national symbols and songs are materials that most of the people of the world, on this planet, have to care about. We don’t have a choice. Whether you like it or not, you had to at one point come to terms with being associated with your flag and anthem. When you encounter something that uses a flag, whether it’s a Jasper Johns artwork or an ad on TV, you have a connection with it. Hopefully that connection will let us bring in all kinds of audiences that don’t usually engage with social practice work or with the Phillips, necessarily. But it should also open up people who may be used to visiting the Phillips only to see modern art, or in the case of the International Forum, a conference. This may become the first social practice artwork they are a part of. That’s really the beauty of it, and that’s why I make the art. It’s not that I just enjoy the process, but that I don’t know the answers. To me, the response of a kid who speaks Spanish at home and can sing the US national anthem for the first time in this language is as important as a scholar of contemporary art practice who may hate anthems and flags and be very uncomfortable by the whole situation.

Pedro Lasch’s Abstract Nationalism / National Abstraction: Part 4

On October 27, artist Pedro Lasch will premiere his work Abstract Nationalism/National Abstraction: Anthems for Four Voices at The Phillips Collection as part of the International Forum Weekend in Washington. In this audio-visual performance, national anthems of specific countries are sung in the language of the country listed alphabetically after it in the World Almanac.

In a six part blog series, Curatorial Intern Lauren Reuter asks the artist about this work and how it fits into the Phillips, art, and politics. Read Part 1 here, Part 2 here, and Part 3 here.

How do you draw the line between different styles of art? Where do you think your work “belongs,” in the traditional sense? How does it fit into the Phillips’s mission of the “experiment station,” which you discussed with Vesela [Sretenović, Senior Curator of Modern and Contemporary Art]?

I’ve never believed in the separations that, to me, seem like artificial constructs of artistic labels like “contemporary.” Half the time, these labels aren’t helpful. I love the idea of the “experiment station,” and I’m completely in agreement with it. That’s what we’re trying to do: we’re experimenting at the Phillips together, collectively, and with the audience, with different fields of the arts. The separations I am referring to between modern, contemporary, historical, European, non-European—these have been produced for practical purposes, but then people forget to see their limitations.

Pedro Lasch, Schematic Scores, Flag Fusions and Visual Props from Abstract Nationalism & National Abstraction (2001/2014)

Pedro Lasch, Schematic Scores, Flag Fusions and Visual Props from Abstract Nationalism & National Abstraction (2001/2014)

While I know the Phillips focuses on collecting and showing “modern art,” as a contemporary artist I don’t separate myself from modernism and modernity. In general, I try very hard to make work that doesn’t allow people to maintain these divides, just like the Phillips project doesn’t allow people to maintain rigid separations between nations and languages.

Working in the Phillips is a fantastic opportunity to highlight the complexity of history and of how artists work with history. I think the reason Vesela pointed out the “experiment station” is that she also doesn’t see this neat separation between modern, post-modern, and contemporary. And that’s part of what she and others are doing at the Phillips: stressing the contemporary and how alive many of these things are. Art is made alive by keeping a certain engagement with it. In the case of programs like the Intersections contemporary art series, it’s by setting up dialogues with artists who are alive. But in other cases it’s by simply pressing the idea of the ongoing experiment, returning to the moment when a space was conceived and thinking about how that moment and meaning has changed over time.