Rhythm and Rhyme: A Poetry Tour, Part 2

Left: The Post-it poem in progress. Right: Richard Diebenkorn, Interior with View of Ocean (detail), 1957. Photos: Rachel Goldberg

Left: The Post-it poem in progress Right: Richard Diebenkorn, Interior with View of Ocean (detail), 1957. Photos: Rachel Goldberg

After we explored Luncheon of the Boating Party through Shel Silverstein’s We’re Out of Paint, So . . . , poetry tour participants looked closely at Richard Diebenkorn’s  Interior with View of the Ocean. Together, we create a group Post-it poem to capture the essence of the painting.

To start off, each person wrote down one word on a Post-it note. Together we grouped and organized the verbs, nouns, and adjectives and then regrouped them according to their mood. We started with a phrase that conveyed a negative mood and then moved to the more positive words.

Then we added lines based on questions I posed to the group. What does this painting taste like? What does this painting sound like? We discovered it tasted like ‘sweet citrusy sea salt’ and sounded like the percussion triangle (ding, ding, ding, ding!). Our final product posed a perfect end to our poetry tour:

An Ocean View

Lifeless scorching geometric cube.
Refreshing citrusy summer sea salt view with
Vivid triangles: DING DING DING DING!
Peaceful, breezy

Margaret Collerd, Public Programs and In-gallery Interpretation Coordinator

A Scientist’s Perspective on Kirkeby

At last night’s Phillips after 5, Michael Garstang, an atmospheric scientist at the University of Virginia’s Department of Environmental Sciences provided his perspective on the Kirkeby exhibition. He began his talk by making connections between art and science saying, “Both fields draw upon creativity as the prime motive. . . both are products of infinite, incremental steps, and both must be founded upon a preconceived framework.”

Per Kirkeby, Untitled, 2006. Tempera on canvas, 78 3/4 x 98 1/2 in. Courtesy Michael Werner Gallery, New York, London, and Berlin

Per Kirkeby, Untitled, 2006. Tempera on canvas, 78 3/4 x 98 1/2 in. Courtesy Michael Werner Gallery, New York, London, and Berlin

Garstang talked about the infinite process of sedimentation, laying down grain by grain to form layers, strata, and structures in his discussion of this untitled work, which Kirkeby painted in 2006. He interpreted the parallel bands at the center of the canvas as possible “fossilized tree trunks,” citing Kirkeby’s writings on trees in which the artist explains, “I don’t think I have ever drawn a whole tree.” Despite the painting’s framework, Garstang noted that Kirkeby “interrupted the form with discordant shapes juxtaposed with a sphere.” He wondered “Is it detritus? Glacial till? Blue ice?” Like Kirkeby, Garstang was reluctant to interpret the end result saying, “I’ll let you sort this one yourselves.”

Six Degrees of Separation: A Tour


Photo: Joshua Navarro

Start your visit on the 2nd floor of The Phillips Collection, outside the Rothko Room, and discover watercolors by John Cage. Primarily known as an avant-garde composer, Cage turned the sounds of an audience’s awkward, ambient shuffling into music. (Return to the museum at 4 pm on September 6 for a full Cage experience, as part of the John Cage Centennial Festival, starting with a panel discussion on Cage’s work and collaborations, including his friendship with Jasper Johns, and culminating with a performance by Irvine Arditti of the impossible-to-perform Freeman Etudes for solo violin.)


Photo: Cecilia Wichmann

Continue up the curving stairway to special exhibition Jasper Johns: Variations on a Theme, and you’ll find prints by Johns that share in Cage’s sense of humor. Johns too makes art out of his audience in works like High School Days (1969), a lead embossed shoe of the kind that lends a naughty view when strategically polished and placed beneath a woman’s skirt. Johns has embedded a mirror in the toe so the curious viewer glimpses only his or her own eye. He made this innovative lead relief and others at Los Angeles print publisher Gemini G.E.L. Towards the end of the exhibition look for Ocean (1994), a lithograph of a dancer leaping over abstracted map forms. The dancer is none other than Merce Cunnningham, the avant-garde choreographer who was also a friend to Johns and Cage.


Photo: Kate Boone

In 1967, Frank Stella designed a set and costumes for a dance piece by Cunningham named Scramble.  That same year, he created his first prints and, like Johns, collaborated with Gemini G.E.L. In one print made that year, Marriage of Reason and Squalor, Stella revisited his iconic 1959 black painting. Walk from the Johns exhibition into the original Phillips house, through the Main Gallery, down a few steps, and past the Klees, and you’ll find Stella’s small work on paper, which was gifted to the Phillips in 1991.


Photo: Joshua Navarro

A luminous glow beckons you beyond Stella’s print, into a gallery with a fireplace, a single bench, and a solitary 60″ x 60″ (but digitally infinite) artwork. Scramble (2011) is Leo Villareal’s response to a conversation he shared with Frank Stella as part of a panel discussion on Kandinsky at the Phillips the previous year. Sharing a name with Stella’s Cunningham collaboration, this work reminds of motion and dance with LEDs relentlessly shifting (and never repeating) their patterns of color. Visitors remark that the contemporary color field is like millions of digital Rothkos.


Photo: Robert Lautman

With your mind thus saturated (and somewhat scrambled), you may now be craving a respite in the Rothko Room. Wind your way back to the 2nd floor of the Goh Annex, where you began with Cage, and enter the small chamber which is also appointed with a single bench (that was the artist’s idea). The Rothko Room is always there for you. (The permanent, meditative installation inspired a new commission, something to look forward to next year, but for now the scent of beeswax remains absent from your tour.)


Photo: Robert Lautman

Turn left out of the Rothko Room toward a stairway and red wall. Pause on the landing and look out the window. Straight ahead, on the far wall of the courtyard, floats Ellsworth Kelly’s swooping untitled bronze. Villareal’s recent body of work includes a Kelly-inspired piece, Coded Spectrum, in addition to his work in conversation with Stella.

Cecilia Wichmann, Publicity and Marketing Manager