ArtGrams: Around the Phillips

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This shot of the exterior of the original Phillips building, emphasizing the red facade, is brought to you by Instagrammer @miquelcar

There are plenty of mesmerizing works on view at the Phillips, but for this month’s ArtGrams, we’re highlighting photos from visitors who looked beyond the canvas.

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Via Instagrammer @wolfofkstreet: “Tête-à-tête chairs in this incredible Georgian Revival house turned gallery. Just one of the many reasons this is one of my favorite places in the city.”

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A rare shot of the window details as seen from 21st Street, NW by Instagrammer @smitn

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Via Instagrammer @babesicle: “Stylish Mondrian wall and chair up in the museum coffee shop! Perfect place to chill out after being on our feet all day.”

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Via Instagrammer @laura_ewan: “New art installation outside Phillips. Miss walking by this every day.”

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We can never get enough of the Music Room. Here’s a great image captured by Instagrammer @Sstephaniediaz.


ArtGrams: Step Right Up

In this month’s installment of ArtGrams, Instagrammers prove there are no limits of where to find beauty. We love how so many people find great inspiration in the mixture of stark angles with soft curves in the museum’s spiral staircase in the Goh Annex. Here are some of our favorite images that capture the stairway’s distinctive design.

Remember to hashtag your Instagram photos with #PhillipsCollection or tag your location for a chance to be featured.


Via Instagrammer @mrs_badger: “Exploring”


Via Instagrammer @februaryrodeo


Via Instagrammer @ljlarue: “Stairs, girl, and shoe”


Via Instagrammer @nelizabeth


Via Instagrammer @brendagtzll: “Phillips Collection USA’s First Museum of Modern Art”


Looking Outside the Frame

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The colors of Nicolas de Staël’s Le Parc de Sceaux are echoed in a neighboring bench. Photo: Elaine Budzinski

Some of my favorite works to view at the Phillips are those that are strongly influenced by the spaces they occupy. A small, inconspicuous alcove next to an elevator displays works by Helen Frankenthaler, Morris Louis, and Kenneth Noland, while El Greco’s The Repentant St. Peter is framed by wood paneling in a dim corner of the Music Room. The heavy perfume of the Laib Wax Room wafts beyond its small chamber into the bright gallery that houses Pierre Bonnard‘s The Open Window; and the upholstered seats that frame a particular window in another gallery echo the blue gray palette of Nicolas de Staël’s Le Parc de Sceaux. These relationships remind me that although sometimes we see paintings and sculptures as aesthetic objects in the context of a white-walled gallery space, they are also artifacts of individual thought processes and ideas.

Elaine Budzinski, Marketing and Communications Intern