What’s in a Boxing Glove?

lovell_bleck

Whitfield Lovell, Bleck, 2008. Conté crayon on wood and boxing gloves, 44 1/2 x 21 x 11 in. Courtesy DC Moore Gallery © Whitfield Lovell and DC Moore Gallery, New York

Tableaux such as Bleck, showing boxing gloves dangling from a female figure, are examples of Whitfield Lovell testing assumptions and pressing us to “think a little deeper.” Why do we see a woman and not a man with these boxing gloves? Lovell has altered our usual frame of reference. When we view the gloves less literally, the combination may suggest the woman’s perseverance, strength, and struggle.

Whitfield Lovell: The Kin Series and Related Works is on view through Jan. 8, 2017.

ArtGrams: Framing Portraits

As part of Arlene Shechet’s Intersections installation, a salon-style display of portraits from the museum’s permanent collection was pulled together. In addition to complementing Shechet’s ceramic works, it turns out this wall is quite photogenic in its own right. Today we highlight a few of our favorite creative shots found in our Instagram feed for this month’s ArtGrams. Share your photos in and around the museum for a chance to be featured on the blog.

#RichardDiebenkorn

A photo posted by Kim C. (@kimacc) on

Mes amies sont belles Pt. I

A photo posted by Daniela (@danielamart__) on

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.

William Wordsworth to Whitfield Lovell

lovell_kin-xxxv-glory-in-the-flower

Whitfield Lovell, Kin XXXV (Glory in the Flower), 2011. Conté on paper, vintage clock radio, 30 x 22 3/4 x 5 3/4 in. The Phillips Collection, Washington, DC, The Dreier Fund for Acquisitions, 2013 © Whitfield Lovell and DC Moore Gallery, New York

The subtitle of this work by Whitfield Lovell, a recent acquisition for the museum, is “Glory in the Flower,” which references the below poem by William Wordsworth. Why do you think Lovell chose this particular phrase for this work? Why do you think he chose a clock as the accompanying object to this portrait?

Though nothing can bring back the hour
Of splendor in the grass, of glory in flower;
We will grieve not, rather find
Strength in what remains behind;
In the primal sympathy
Which having been must ever be;
In the soothing thoughts that spring
Out of human suffering;
In the faith that looks through death,
In years that bring the philosophic mind.
–William Wordsworth, “Ode on Intimations of Immortality” from Recollections of Early Childhood, 1804

Whitfield Lovell: The Kin Series and Related Works is on view through Jan. 8, 2017.