American Art in Music

Posted on June 9, 2014 by Experiment Station

Jacob Lawrence, The Migration Series (1940-41) Panel no. 1 “During World War I there was a great migration north by southern African Americans.” Casein tempera on hardboard, 12 x 18 in. Acquired 1942. The Phillips Collection, Washington, DC

What song would you pair with Jacob Lawrence’s The Migration Series? As part of last year’s Vocal Colors, Wolf Trap Opera Company soprano Andrea Carroll chose Troubled Woman, part of a cycle called ‘Genius Child’ written by American composer Ricky Ian Gordon. Below is our newest audio tour stop: an excerpt from the performance, preceeded by an introduction by Lee Anne Myslewski, the Director of Artistic Administration for Wolf Trap Opera & Classical Programming. [jwplayer config=”Audio Player” mediaid=”19006″]

“This is the fifth year that Wolf Trap and The Phillips Collection have collaborated on Vocal Colors, a recital series that uses the thought-provoking works of The Phillips Collection as a springboard for a varied musical evening. Curated by musicians from the Wolf Trap Opera Company, the musical offerings cross genres and time periods, offering new aural perspectives on the respected visual works.”

This year, singers will be responding to works from Made in the USA. Hear from soprano Tracy Cox and tenor Robert Watson on June 19, and soprano Melinda Whittington and mezzo-soprano Carolyn Sproule on July 31.

On June 16 at 12 pm EST, Tracy Cox will lead our first-ever guest #breakforart Twitter chat! We’ll be discussing John Marin’s Pertaining to Fifth Avenue. Have questions about her process or song selection? Leave them as comments here, or join us on Twitter @PhillipsMuseum to participate.

We Jazz June

Posted on June 6, 2014 by Sarah Osborne Bender

In honor of the DC Jazz Festival and our own Jazz ‘n Families Fun Days this weekend, here are some works in the collection to get your toes tapping, all of which relate to jazz. Can you see it?

Clockwise from top left: Gene Davis, Jasmine Jumper, 1966, Acrylic on canvas 119 1/2 x 161 1/2 in.; 303.53 x 410.21 cm.. Gift of Florence Coulson Davis In Memory of Gene Davis, 1992. Stuart Davis, Egg Beater No. 4, 1928, Oil on canvas 27 1/8 x 38 1/4 in.; 68.8975 x 97.155 cm.. Acquired 1939. Elizabeth Murray, Jazz, 2001, 3-dimensional lithograph, Edition 7 of 46 overall: 30 in x 34 in x 4 in; 76.2 cm x 86.36 cm x 10.2 cm. Purchased with funds from the estate of Nathan and Jeanette Miller, 2007. Arthur G., Dove, Me and the Moon, 1937, Wax emulsion on canvas 18 x 26 in.; 45.72 x 66.04 cm.. Acquired 1939. The Phillips Collection, Washington DC.

Gene Davis said, in a 1975 interview, “My work is mainly about intervals, that is, like in music. Music is essentially time interval, and I’m interested in space interval.” He was also known to say that he painted “by eye” the way a jazz musician plays “by ear”. Stuart Davis collected jazz records that he played while he worked, replaying them much as he repeated visual elements in his paintings. His daily calendars chronicle purchases of new albums and when he played them. Elizabeth Murray captures the vibrant sound and broken branches of jazz improvisation in her colorful print, Jazz (2001). And Arthur Dove’s Me and the Moon (1937) is named after the 1936 song which he heard on the radio while he worked.

What visual art makes you think of jazz?

American Craft: Spotlight on Stack and Scare

Posted on June 3, 2014 by Experiment Station

Stack and Scare children’s blocks. Photo: Rhiannon Newman

In conjunction with Made in the USA, we’re celebrating contemporary American ingenuity by highlighting some of our favorite American artisans featured in the museum shop. Today we interview Pete Bultman of Uncle Goose, the world’s premier manufacturer of wooden alphabet blocks, and designer Don Clark of Invisible Creature.

What inspired you to make these blocks?

Don Clark: My father is a woodworker and luthier, so woodcraft has been a big part of our lives, but honestly I’d have to say Uncle Goose inspired these blocks. I’ve been a big fan of their products and have purchased many sets over the years. We design lots of toys and characters here, but the idea for Stack And Scare! came after playing (and stacking) Uncle Goose blocks with my kids. I had never seen any sort of stackable wooden monster play set, and definitely not a refined and modern version…so I pitched the idea to Uncle Goose, and the rest is history I suppose. I now consider Pete a great friend and I’m thankful for our partnership—and his enthusiasm to make these amazing products with us.

Pete Bultman: When we first saw the designs, we fell in love instantly and knew we had to make them.

How do you feel about rise of technology in children’s toys?

PB: Ultimately technology will consume all aspects of our lives in one way or another…it’s unfortunate these days how obtrusive it is in children’s toys. Manipulatives and imaginative play are the hallmarks of brain development for young children, something smart phones and others can’t replicate (unless you’re using them to stack and make things). Some day the balance will be there, but right now we are doing a tremendous disservice to our kids by leaving them alone with the digital nanny!

DC: Technology is great. But many people forget that technology is a just a tool. When that tool hinders imagination and stifles the art of just getting lost in a book, painting, album, toy or game…then I feel it gets in the way of that true “magic” we experience as a kid—or adult, for that matter. In short, many interactive toys and games suck the creative whimsy and exploration out of creative play. I remember sitting and flipping through illustrated picture books as a kid and wanting to visit those beautiful worlds so badly—my imagine would soar! That’s what I fear gets lost with much of the interactive technology in today’s toys…can one be too engaged?

What was your favorite childhood toy?

PB: Lego was my favorite.

DC: Well, that’s easy. LEGO. No explanation needed on that one!

Do you have a favorite American artist? If yes, who, and why?

DC: That’s probably a tie between Charles Eames and Walt Disney. Amazingly beautiful, simple product design fused with my love of cartoons and toys…that’s where I want to exist!

PB: Not sure I have a favorite artist…certainly too many to choose. Probably Don Clark! Why? Stack and Scare, and Odd Galaxy (coming soon).