Author Archives: Experiment Station

My Top Moments from 2023

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Vradenburg Director & CEO Jonathan P. Binstock shares his favorite moments from 2023.

As we near the end of 2023, the time is right to reflect on all the great work that the Phillips has accomplished over the past year, and tell you all how honored I am to have been a part of it. I’m sharing here a few of my favorite moments, but of course there are so many more. Thank you for warmly welcoming me back to Washington and into the humbling role of Vradenburg Director & CEO. I am grateful for all the support I have received over the past year. I hope to see you in 2024 frequently in the galleries and at our events. I wish everyone a festive and bright holiday season and happy new year!

Exhibition curators Camille Brown and Renee Maurer at the opening of Pour, Tear, Carve: Material Possibilities in the Collection. Photo: Ryan Maxwell Photography

March: Pour, Tear, Carve: Material Possibilities in the Collection opened two weeks after I began my tenure at the Phillips. By highlighting many recent acquisitions, the exhibition—curated by Camille Brown and Renée Maurer—showcased the museum’s efforts to diversify its collection. I was thrilled to learn about so much new work in the collection, and deeply impressed by how the collection could evolve in exciting ways and simultaneously strengthen the legacy established by our founder, Duncan Phillips.

Jay Campbell and Conrad Tao performing in Linling Lu: Soundwaves exhibition. Photo: Dominic Mann Productions

April: I am consistently blown away by the caliber and creativity of our Phillips Music programs. It is one of the great discoveries (for me) and pleasures of my new role—especially because I’m very much a classical music novice. In April, Conrad Tao and Jay Campbell presented an immersive concert in the Linling Lu: Soundwaves exhibition. Soundwaves was inspired by a 2015 Phillips Music performance of Philip Glass Etudes by Timo Andres. Campbell and Tao performed a work by Catherine Lamb, co-commissioned by the Phillips and inspired by the art and ideas of Paul Klee. What a magnificent intersection of visual art and music!

Dee Dwyer at the opening celebration of her exhibition Wild Seeds of the Soufside. Photo: Dorothy Francis

May: The exhibition of photographs by Dee Dwyer at Phillips@THEARC was a wonderful celebration of Southeast DC. The closing event featured a Go-Go band, art activities, and more. I’m very excited about all the exhibitions and events we present at THEARC, and amazed by the quantity and richness of the partnerships we have developed there with our fellow ARC organization. More than working with and helping to build community around THEARC, which is a dynamic, powerfully vibrant, and growing organization, we are an integral part of the community, and, I’m proud to say, we are perceived that way.

Phillips staff with museum colleagues in the Phillips conservation studio. Photo: Jonathan Binstock

May: It was Cézanne study day, and for 15 minutes I was in art historian heaven, mostly a fly on the wall listening to a team of Cézanne experts rhapsodize on the subject of finished vs. unfinished (does it matter?), the existential (representational?) value of a brushstroke, and on. The stellar group included Lilli Steele, Phillips head conservator, Patti Favero, Phillips conservator, Renée Maurer, Phillips associate curator, Anne Hoenigswald, National Gallery of Art conservator, Barbara Buckly, Barnes Foundation head of conservation, Jayne Warman, art historian and catalogue raisonné author, and Kim Jones, National Gallery of Art curator of French paintings. Don’t miss our Cézanne exhibition in April that will highlight their findings.

Jonathan Binstock with his wife at the Capital Pride Festival

June: It was fun to work the Phillips’s booth at the Capital Pride Festival and talk to people about the museum. Many stopped by to tell us how much they love the Phillips and have been visiting for decades, and others heard about the Phillips for the first time. The Phillips is such an integral part of the city, making it all the more important that we show our support for the LGBTQIA+ community.

Inspired by Frank Stewart’s use of reflective elements, three Washington School for Girls students use handheld mirrors in their portraits.

June: Focal Point: Shifting Perspectives through Photography was an exhibition featuring artwork created by Washington School for Girls, Turner Elementary School’s Medical & Educational Support, and Jackson Reed High School Photography Club students inspired by Frank Stewart’s Nexus. The exhibition showcases our continued work with local schools through our Art Links program and Prism.K12 teaching strategies. Through the program the students learned about self-expression, light, movement, creativity, and so much more. And the receptions to celebrate the students and their contributions, along with family and friends, were a ball! I love the bold, striving energy our educators help generate in the students we engage. It’s inspiring.

Creative Aging participants responding to Frank Stewart’s Nexus: An American Photographer’s Journey, 1960s to the Present with Nancy Havlik’s Dance Performance Group

June: During the Frank Stewart-inspired Creative Aging session in the galleries, participants from Iona’s Washington Home Center and Wellness & Arts Center connected to Stewart’s themes and artistry through dance, music, poetry, and drawing. Participants responded to Nancy Havlik’s Dance Performance Group and Miles Spicer’s jazz and blues guitar. This program shows the very direct connection between art and wellness. There was so much joy in the galleries. It’s impossible not to feel—in a moving and visceral way—the positive impact our Creative Aging programs on individual participants. The work we do in this space is incredible.

Left to right: Curator Ruth Fine, Frank Stewart, Hortense Spillars, Fred Moten, Jonathan Binstock

August: In August, to celebrate the final weeks of our fantastic Frank Stewart retrospective, I was humbled to attend the panel with four incredible contributors to the humanistic enterprise: Stewart himself, poet and theoretician Fred Moten, legendary literary and cultural interrogator Hortense Spillers, and the amazing curator and scholar Ruth Fine. Here I am with a bigtime star-eyed emoji face!

Kwaku Yaro, Alidu, 2022, Acrylic, woven nylon and burlap on polymer, 87 3/4 x 60 1/4 in. Photo: Jonathan Binstock

September: During a trip to Europe, I was able to visit the 1-54 Contemporary African Art Fair in London. It’s rare that I fall in love so quickly with art I’ve never seen before. The collages of Kwaku Yaro featuring commonly used plastic carry bags purchased in Accra, Ghana, where he lives, and applied to plastic jute-like mats, grabbed me immediately. The Phillips is actively working to acquire more art by international artists, and I’m thrilled to share that we have just acquired a stunning work by Yaro, Alidu (2022).

The Rothko Room temporary installation with loaned paintings from the artist’s family. Photo: Lee Stalsworth

October: Our Rothko Room is the only room created in collaboration with the artist himself that he was able to experience firsthand. In October, three of the four paintings in that room were loaned to the Fondation Louis Vuitton in Paris, and in their place the artist’s family loaned us three incredible works from their collection. I was lucky enough to go see our works in Paris in the major Rothko retrospective on view there, which you must see if you can. There will never be another like it. Transformational. And if you love yellow the way I do, don’t miss the present, temporary reiteration of our Rothko Room.

Jonathan Binstock with Ugo Rondinone in his One-on-One exhibition. Photo: AK Blythe

November: The Phillips does such spectacular work connecting the art of the past with the art of the present—an important tenant of Duncan Phillips’s vision for the museum. I was delighted to meet the internationally renowned artist Ugo Rondinone—I’m a big admirer—during the installation of his One-on-One exhibition, which juxtaposes his work with that of Louis Eilshemius, a rather obscure and mysterious painter and poet loved by Duncan Phillips and Rondinone himself.

Sylvia Snowden’s studio. Photo: Jonathan Binstock

November: I visited artist Sylvia Snowden in her home on M St. NW in Washington, DC, where she has lived for more than 40 years and where she paints canvases on the floor of every room except the kitchen and bathrooms. I first learned about Snowden’s art in graduate school from my academic advisor, Sharon F. Patton. Artist Sam Gilliam introduced me to Sylvia in the mid 1990s. How fortunate I am to meet such incredible artists and to develop relationships with them over many years. The Phillips is integral to the lives our DC artists, and we are grateful to have the opportunity to encourage, support, and honor them. Sylvia Snowden will be an honoree at our 2024 Annual Gala. I hope you will join and help us celebrate her extraordinary accomplishments.

Installation view of An Italian Impressionist in Paris: Giuseppe De Nittis. Photo: Lee Stalsworth

December: When the Washington Post published its top-ten list of exhibitions for the year, the Phillips was the only DC museum included, for our amazing exhibition, An Italian Impressionist in Paris: Giuseppe De Nittis. Way to go team! And what a terrific way to celebrate the Holiday Season!

Best wishes to all, Jonathan

John Biggers Goes Big!

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Phillips Educator Carla Freyvogel dives into John Biggers’s painting, on view in African Modernism in America, 1947-67 through January 7, 2024, and connects it to another work in the collection.

The delight and complexity of John Biggers’s Kumasi Market does not slam upon us at first glance. Rather, it unfolds.

John Biggers, Kumasi Market, 1962, Oil on acrylic on Masonite board, 34 x 60 in., Collection of William O. Perkins III © John T. Biggers Estate / Licensed by VAGA at Artists Rights Society (ARS), New York, NY / Estate Represented by Michael Rosenfeld Gallery, Courtesy Swann Auction Galleries and American Federation of Arts

Standing at a polite distance, we are met with shades of brown, copper, gray, muted gold, and a few high points of white. But as we approach, multiple shades of blue, ebony, terra cotta, and brilliant yellow emerge along with a hubbub of industrious characters. That is where the delight comes in. Who are all these people? Oh! Some small children! A baby! A plethora of women, strong and busy.

Visitors to African Modernism in America, 1947-67 are intrigued by this painting. I ask them to extend their arms out to each side as far as they can. Yes, your wingspan is no match for the width of this work of art. It is huge. There is much to see.

Installation view of African Modernism in America, 1947-67

How do we absorb a painting as large as this, so full of activity and characters? Biggers helps us: our eyes can hop through the painting by taking in the yellow hats and the brilliant play of sunlight as it catches the weave of the straw. Light bounces off shiny exposed arms and foreheads.

Although the painting is seemingly crammed with a crush of people, consumed with work in their own worlds, Biggers focuses our eyes by containing the scene within the architecture of the market’s warehouses. The wooden beams of the central building’s roofline connect somewhere out of the image, drawing our eyes upward. But Biggers also returns our focus to the foreground, middle-ground, and background by using the linear perspective formed by the adjacent warehouses.

Interestingly, smack in the middle of the foreground, sits an elegant figure, a long-limbed woman, languid and serene. Deep in thought, her chin is absent-mindedly dropped onto the back of her hand. She provides a lovely counterpoint to the busyness surrounding her.

Kumasi Market, painted in 1962, was a vibrant memory of Biggers’s visit to Ghana in the year of is independence, 1957. The Kumasi Market, sometimes referred to as Kejetia, remains a real destination (if you can’t travel there, you can watch YouTube videos of its liveliness). Home to over 10,000 stalls, the market sells everything from soap to beads, cooked food to fresh produce, hardware and tech goods, glorious fabric that can be turned into a dress by the time the sun goes down . . . you name it! It is a place of intense commerce, starting before dawn, ending at dusk. The Culture Trip website writes, “If you look beyond the crowded nature of things, the cacophony of business interactions, the miscellany of voices and items, the Kejetia experience is that of an interactive civilization and savoir-faire community where you will learn something at the end of the day.”

John Biggers’s artistic vision evokes the rich sensory experience of the market—not just the sights, but the sounds, the smells, the heat on skin. Biggers was drawn to this scene of vibrancy and productivity, perhaps seeing a strength in its existence that echoed Ghana’s recent empowerment. That might have been a connection shared by the former owner of this painting, Maya Angelou.

As I explore this work with our visitors, I am reminded of another work of art, one floor down: Luncheon of the Boating Party by Pierre-Auguste Renoir. Once again, a large painting, and one that is crowded with figures.

Pierre-Auguste Renoir, Luncheon of the Boating Party, 1880-81, Oil on Canvas, 51 ¼ x 69 ¼ in., The Phillips Collection, Acquired 1923

The multitude of straw hats in Luncheon, provide a way for our eyes to move through the painting, as we unconsciously construct series of triangles out of the pops of yellow. The play of light also brings our eyes around the painting, picking up the glint of glass, the impasto of the uneaten bread, the sliver of sail boats in the background. And, the red and white striped awning, added by Renoir in his final stages of painting this large work, contains our eye, much like the architecture in Kumasi Market. Without the awning, our eyes might fly off into the distance.

And while not precisely central, Renoir’s love-interest, Aline Charigot, seems to command center stage with her rosy beauty and her festooned hat. Yet she cares little of us—her complete focus is on her puppy. She tunes out the noisy scene going on behind her, while as viewers, we are curious about her inner thoughts.

On one hand, we have American born and educated Biggers, inspired by the political events of West Africa. On the other, Impressionist Renoir was staying close to his French home with his French friends and yet their social activities were made possible by changes in French society.

These distinct artworks each reflect aspects of the social and political life that influenced the artists’ lives. When examined in relation to each other, John Biggers and Pierre-Auguste Renoir inspire us to consider the similar compositional choices and artistic techniques they each used; choices and techniques that bridge cultures, space, and time.

Making Fun and Festive Monoprints

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Museum Assistant Karlisima Rodas-Israel shares her experience at Joyce Wellman’s Workshop in April, and how you can make monoprint holiday prints, cards, and more.

I had a wonderful and fabulous experience at Joyce Wellman’s workshop in the spring. Joyce is an artist working in painting, printmaking, drawing, and mixed media, and one of her prints was featured in the exhibition Pour, Tear, Carve: Material Possibilities in the Collection. As part of the exhibition, she held a talk and monotype workshop. The process is called monotype because the design on the plate is unique and each print is one of a kind. The workshop was full, and we were all sitting together, sharing materials and ideas.

Karlisima Rodas-Israel with artist Joyce Wellman

I made four prints and I was very inspired because I really enjoyed the process of using different objects to make textures, such as corrugated cardboard or pieces of wood. The printing process was fun and easy. We pressed the paper onto the plate with a piece of foamboard so that the paint from the plate would adhere onto the wet paper. People enjoyed mixing the acrylic paints and experimenting with making textures. We came up with very interesting designs. Some of the participants were art teachers, and some had never done art before. It was a mixture of people from diverse backgrounds. As an artist, I enjoyed learning new printing techniques and was inspired to keep making my own art. Joyce was a very good teacher. She first gave us instructions and then she stopped by at each table to give us advice on how to make the prints and how to enhance our designs. She was very helpful, kind, and encouraging. She told me that this workshop had brought her a lot of joy. Everybody had a good time. I was so inspired and learned a lot!  And for this, I am very thankful!

Workshop participants with all their materials ready to make prints

You can also make monoprints at home! You can make holiday cards or gift your unique prints. Or create monoprints together with your family and friends!

Here is what you will need:

  • Acrylic paint and paint brushes
  • Watercolor pencils (optional)
  • A plastic tray or plate to use as a paint palette
  • A cup of water to clean your brushes as you paint
  • A metal spoon or a piece of foamboard to press the paper onto the plate
  • Paper: cardstock or thick drawing paper or watercolor paper (5×7 in. to make cards)
  • Scraps of corrugated cardboard, string, or other materials (to make textures)
  • A plastic container of water to wet the paper
  • A plastic sheet or plastic plate (5×7 in. for cards). Some suggestions:
    • Pronto Plate from Dickblick.com
    • Grafix Impress Monoprint Plate from Plaza Artist Materials.com
    • Akua Printmaking Plate from Dickblick.com
    • Or any plexiglass plate, piece of glass, or metal baking sheet

Workshop participants making prints

Let’s get started!

  • First, get ready–Use an apron to avoid getting acrylic paint on your clothes as it does not come off. Protect your table with newsprint paper or a plastic table cover. Display your colors on a plastic palette in front of you.
  • Submerge the paper in water in a plastic container full of water or in a sink.
  • Then, create your design on the plastic plate (or glass, plexiglass, or baking sheet). Paint your design with acrylic paint. Make sure to keep the brushes wet, since acrylic paint dries very quickly. Keep your colors fresh and bright by cleaning your brushes with water when you are changing colors to avoid muddy colors. Make sure to rinse off the brushes and palette at the end of the session!
  • You can make textures with cardboard by cutting triangles, squares, or any shape. Then apply the paint onto these shapes, and press the shapes onto the plate. You can also tear off the top layer of the cardboard and use the exposed corrugated side to make interesting textures.
  • Use your imagination to make your design! You can make a tree, landscape, mountain, house, flower, star, heart, smiley face, stick figure, or anything you want. Your design can also be totally abstract. You can use a lot of colors or just a few. Most importantly, have fun!
  • You can also write words on the plate, like Joy, Peace, or Love or any word you wish, but make sure to keep in mind, that, since this is a print, it will print in reverse, like a mirror image, so it must be drawn also in reverse. For this, I recommend that you use a mirror. First, write the word on a separate piece of paper, and then put it in front of a mirror, and then write the word on the plate exactly as you see it in the mirror. It will be the reverse image.
  • Once your design is painted on the plate, then you will need the wet sheet of paper. Lift the wet paper from the container of water and remove the excess water, but keep the paper wet.
  • The painted plate must be flat on the table. Make the print by pressing the wet paper onto the plate. Use a spoon or a piece of foamboard to press the paper firmly onto the plate and make sure to press the whole paper. Lift the paper carefully, and you have your print!
  • You can draw on top of this print with watercolor pencils to add wiggly lines or additional marks. Finally, let the paper dry on a clean surface, face up.

You can only make one unique print each time and that is why it is called a monoprint, but you can use the same plate to make more prints. Just wipe off the paint from the plate with a wet paper towel or add more paint or more designs on top of it since the paint will likely be dry and will only print a “ghost image,” or a very faint image. This is fun because you have infinite possibilities!

As Joyce Wellman taught me, we are the boss of our artwork and we are the creators. So, have fun and enjoy the process!

Karlisima Rodas-Israel making monoprints