Category Archives: ImaginAsia

Blooming Art

Flowers in the Sackler lobby

Flowers in the Sackler lobby

When I’m at the information desk, I’m often asked about the flower arrangements that greet visitors entering the museum. Since 1997, Smithsonian Horticulturalist Cheyenne Kim has arranged the flowers in the Sackler’s lobby. The vivid blooms are a continuing gift from Else Sackler, Arthur M. Sackler’s first wife.

Inspired by visitors’ frequent questions about the arrangements, I created this family activity for our in-person and online visitors. It’s designed to be a conversation between adults and children ages 4–8. Try it in the museum or at home with one of our many flower-filled artworks.

Pick one word to describe how the flowers make you feel.

What colors do you see?

Are the lines straight? Squiggly? Slanted? Curved?

Think about the smells. Are they sweet? Fresh? Spicy?

Draw your own arrangement. Choose flowers that have the colors, lines, and shapes that you want to see together!

Think about where you would want to display your flower creation.

ImaginAsia: The Lost Finger

Guardian figure; Japan, Kamakura period, 1185–1333; wood (Cryptomeria japonica); Purchase—Charles Lang Freer Endowment, F1949.20

Guardian figure; Japan, Kamakura period, 1185–1333; wood (Cryptomeria japonica); Purchase—Charles Lang Freer Endowment, F1949.20

All was still, absolutely still as the moon rose over the National Mall in Washington, DC. The visitors had left, and the Freer|Sackler was eerily quiet. A shaft of moonlight pierced the museum’s skylights and flooded over the Japanese guardian figures standing proudly in the hallway. Under the magic of the moon, the figures slowly came to life. Towering over mere mortals and rippling with muscles, the guardians were an intimidating sight. In their earlier history, the figures stood guard in front of a Buddhist temple, but that night they battled fierce demons to defend the art collections of the Freer|Sackler.

The next morning, one of our security officers noticed a finger belonging to the guardian figure pictured above resting on its pedestal. It must have been a fearsome fight . . .

Well, OK, that’s probably not exactly how it happened. The only thing we know for sure about that incident in April 2009 is that the security officer found the finger and called me, Ellen Chase, objects conservator. At the Freer|Sackler, we do have figures who fight to defend the collection—but we aren’t made of wood (and we have much smaller muscles). We work in the Department of Conservation and Scientific Research.

The Freer|Sackler Objects Lab.

The Freer|Sackler Objects Lab.

Please Don’t Touch
When you go to museums, there often are a lot of “Please don’t touch” signs. But why? It’s because art is a lot more fragile than it seems. The guardians are so big that it is hard to imagine they are delicate, but the wood is at least six hundred years old and can be brittle. Instead of being sacrificed during a brutal fight to defend the museum, the finger more likely was knocked off by a visitor who got too close.

Besides the risk of breaking off a piece, there are a few really big reasons why we ask you to not touch the art:

  1. Touching an artwork just one time doesn’t seem like it would have much impact. But each time someone moves their hand across an object, a tiny bit is rubbed off. Over time, this contact can cause a lot of damage. For example, look inside this installation in the Smithsonian’s Natural History Museum:rubbed patina _NMNH
    See the part that looks shiny rather than dark? That’s where people have rubbed off the dark brown layer, or patina. It’s OK in this case—the museum intended for people to touch the object—but what if it weren’t?
  2. Everyone has oils on their hands. When you touch something, you leave some of those oils behind, creating your unique fingerprints. Those residues also can cause damage. Check out this lacquer lid of a ewer in our collection that has fingerprints etched into the surface from oils left behind. We can’t get the prints off; they are now part of the object.

    Fingerprint on the lacquer lid of a Karatsu ware ewer or freshwater jar.

    Fingerprint on the lacquer lid of a Karatsu ware ewer or freshwater jar.

  3. Unless you just washed your hands, remainders of anything else you touched recently will be left on the art as well. So those Nacho Cheese Doritos you had in your lunch? Yup. They’re on there too. As conservators, we wash our hands really well before working with art. And for really sensitive materials, like metals or lacquer or ivory, we also wear gloves.

Try This
Many works of art and historic objects are unique, the only examples of their kind in the world. And every time someone touches one of these objects in the gallery, we lose a little bit of history. Wanna see what I mean? Try this activity and see what happens—and send me pictures!

Take a piece of white printer paper and cover half of it with plastic wrap. Place it at the door of your house or classroom, or another place with a lot of foot traffic (the bathroom, maybe?). Ask everyone to touch or rub the material every time they walk by. Check back in two weeks. What has happened to the exposed part of the object? How does it compare to the side that is covered? What does it make you think about museums’ “don’t touch” policy?

collage

This is the first in a series of blog posts for kids who are interested in art conservation. Follow along for more behind-the-scenes looks at why and how we care for our collections, working to protect and conserve art for you today as well as for future visitors. What do you want to know? We’d love to hear your questions and comments!

Art and Hearts for Valentine’s Day

Throughout Valentine’s Day weekend, join us to celebrate love at the Freer|Sackler. Our Love in Every Language programs (12–4 pm on February 13 and 14) will feature a slideshow of depictions of love in our collections. Japanese artist Kajita Hanko created this work, Unrequited Love, in 1903 for a novel of the same name.

 

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Couple in a Landscape was created in the 1600s, possibly in Herat in historical Iran (present-day Afghanistan). The painting is surrounded by landscape and animal motifs.

 

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Other fun activities include the opportunity to create Valentine’s Day cards, using woodblock prints that say “love” in more than a dozen languages. You also can fold heart-shaped origami. Should you wish to get a jump-start, watch a video that guides you through the process:

 

 

This program is suitable for all ages with adult companions. Join us in the ImaginAsia classroom, located on sublevel 2.  Don’t miss out!

Celebrate the Year of the Monkey

Monkeys Grasp for the Moon by Xu Bing

Monkeys Grasp for the Moon by Xu Bing

Calling visitors of all ages: Ring in the Year of the Monkey at our second annual Lunar New Year Celebration on Saturday, February 6, 11 am–4 pm. Join us to explore the museum, take family-friendly tours of the suspended sculpture Monkeys Grasp for the Moon, and enjoy dance performances by the Madison Chinese Dance Academy. Plus: ribbon dancing, mask making, calligraphy, photo booth fun, and Lunar New Year resolutions!


About the Artwork

Chinese artist Xu Bing created Monkeys Grasp for the Moon specifically for the Freer|Sackler. Each of the sculpture’s twenty-one pieces represents the word “monkey” in one of a dozen different languages and writing systems, including Indonesian, Urdu, Hebrew, and Braille. The work is based on a Chinese folktale in which a group of monkeys attempt to capture the moon. Linking arms and tails, they form a chain reaching down from a tree branch to the moon—only to discover that it is just a shimmering reflection in a pool of water.

Listen to Xu Bing chat about the work during its initial installation at the Freer|Sackler (click on “Interview with the Artist”).

Teen Artist Residency: Peacock Printmaking Project

Clockwise from top left: Teen artists in "Filthy Lucre," inspired by Whistler’s peacock feather pattern, assembled in front of the Freer Gallery of Art, and with printmaker Dennis O’Neil.

Clockwise from top left: Teen artists in “Filthy Lucre,” inspired by Whistler’s peacock feather pattern, assembled in front of the Freer Gallery of Art, and with printmaker Dennis O’Neil.

Local teens have turned the conflicts in their lives into James McNeill Whistler-inspired art. This summer, the Freer|Sackler partnered with ArtReach@THEARC to host a three-week artist residency for DC teenagers with internationally recognized printmaker Dennis O’Neil. The group spent a day visiting the museums, during which they toured Whistler’s famed Peacock Room and the contemporary installation Peacock Room REMIX: Darren Waterston’s Filthy Lucre with Lee Glazer, associate curator of American art. Inspired by their experiences, the young artists then investigated the emotional tension behind Art and Money; or, The Story of the Room, Whistler’s mural of fighting peacocks that marked his feud—and subsequent break—with longtime patron Frederick Leyland. Working with graduate-student mentors from George Washington University, the teen artists drew parallels to their own lives and depicted personal stories of conflict on nineteen vase-shaped prints, which were affixed to a Peacock Room-esque screen.

The Peacock Printmaking Project being prepped to go on display at the Arthur M. Sackler Gallery.

The Peacock Printmaking Project being prepped to go on display at the Arthur M. Sackler Gallery.

“I thought many of the vases were extremely creative. I enjoyed the give and take between the students and the George Washington interns,” said O’Neil at the project’s opening reception. The Peacock Printmaking Project remains on view outside the ImaginAsia classroom in the Sackler until January 2016.

Interested in upcoming teen programs at the Galleries? Register for this month’s two-session audio-recording workshop, co-hosted by the Hirshhorn’s ArtLAB+, to explore artworks in Peacock Room REMIX. You also might be a great fit for the Freer|Sackler Teen Council, a group of ten creative and dedicated high school students who help make the museums more welcoming and engaging for young people. The Teen Council plans and hosts events that bring DC-area teens to the museums to hang out, make and design art, and have unique and exciting experiences. Take a look at the schedule, commitment, and benefits associated with participating in the Teen Council. If you think you would be a great fit, apply online by November 1, 2015, to join.

Anime and Manga Summer Camp

Matthew Lasnoski, youth and family programs educator, leads campers on a tour of the Freer’s collection of Japanese art.

Matthew Lasnoski, youth and family programs educator, leads campers on a tour of the Freer’s collection of Japanese art.

Last month, the Freer|Sackler welcomed twenty-one campers to the seventh annual summer camp dedicated to Japanese anime and manga. Throughout the five-day session, the class traced the origins of manga drawing and anime films by exploring the Freer’s collection of Japanese art. To better understand place and setting, campers considered the Japanese screen Pheasants and Cherry Trees, sketching and adapting details to incorporate into their own projects. As the week progressed, the campers encountered a frightening guardian figure and imagined a story panel in which they would have to maneuver past this character. Freer|Sackler staff also taught figure-drawing lessons to build the class’s technical skills.

Taking advantage of the Freer|Sackler’s location on the National Mall, half-day field trips were scheduled to see art around town. Campers visited the Martin Luther King Jr. Memorial Library to see its collection of Japanese graphic novels and ventured to the Smithsonian American Art Museum to view Korean-born artist Nam June Paik’s Electronic Superhighway. This multimedia work showed students how to provide a sense of place in their own works. At the end of the week, campers shared their finished manga-inspired comic books with their parents at an end-of-camp party.

A student carefully works on her anime project during the ImaginAsia workshop.

An eight-year-old student designs her manga-inspired comic book, Marshmello, in the ImaginAsia classroom.

During the school year, the Freer|Sackler offers art-making workshops, drop-in programs, activity guides, and many other ways to enrich family visits. Check out the complete schedule of ImaginAsia family programs.

Celebrate the Lunar New Year at Freer|Sackler

Sheep and Goat; Zhao Mengfu (1254–1322); China, Yuan dynasty, ca. 1300; ink on paper; Purchase, F1931.4

Sheep and Goat; Zhao Mengfu (1254–1322); China, Yuan dynasty, ca. 1300; ink on paper; Purchase, F1931.4

Greetings from the ImaginAsia family program!

To ring in the Year of the Sheep, we are hosting our first annual Lunar New Year Celebration on Saturday, February 21, from 11 am to 4 pm. Throughout the day, visitors of all ages can learn, play, and indulge in culinary delights to mark the new year in China, Korea, Mongolia, Sri Lanka, and many other countries.

Visitors can explore the Freer|Sackler’s rich collections through educator-led tours, sample and learn how to make Lunar New Year-themed recipes with author Pat Tanumihardja, and discover the history and traditions of the holiday through book readings hosted by the DC Public Library. Other activities include creating festive good-luck figures with handmade paper and pop-up greeting cards with Sushmita Mazumdar, a local book artist.

This event, held in the midst of the fifteen-day holiday, is co-organized by the Smithsonian Asian Pacific American Center.

Can’t wait for Saturday? Send a Lunar New Year e-card now!

Night Light

Ariana, age 11, created a beautiful night scene inspired by the art of Kiyochika.

Ariana, age 11, created a beautiful night scene inspired by Kiyochika’s “Fireworks at Ike-no-Hata.”

Stephen Eckerd is head of ImaginAsia family programs at the Freer|Sackler.

As a child, I loved playing in the dark. I could find my way from my bedroom to the refrigerator without turning on a light or bumping into anything. Kobayashi Kiyochika’s woodblock prints, such as one of fireflies dancing over a river, recall childhood evenings in June along the banks of the Potomac.

The moment I saw Kiyochika’s prints, I knew I wanted to create an activity that explored Kiyochika’s nocturnes and allowed children to use oil pastels to paint with light on black paper. In the ImaginAsia classroom, families examined works from the exhibition Kiyochika: Master of the Night and produced nightscapes that incorporate Kiyochika’s silhouettes as overlays for their compositions.

In Kiyochika's print, sepctators climb a willow tree to get a better view of fireworks, 1881, Robert O. Muller Collection.

In Kiyochika’s 1881 print “Fireworks at Ike-no-Hata,” spectators climb a willow tree to get a better view of fireworks. Robert O. Muller Collection.

Mercy, age 8, created a nightscape with colorful fireworks.

Mercy, age 8, painted fireworks that explode in pinwheels of light.

Kiyochika: Master of the Night is on view in the Sackler through July 27. View a slideshow of Kiyochika’s work.

The Clay’s the Thing: Claymation at ImaginAsia

Making claymation at ImaginAsia

Producing a claymation short at ImaginAsia

Siobhan Donnelly, a summer intern in the department of public affairs and marketing, is currently a student at the Courtauld Institute of Art in London.

In August a group of students from the ages of nine to eighteen had the opportunity to study the art of claymation at ImaginAsia’s Young Artists Residency. The program combined discovery in the galleries with a chance for students to create their own claymation videos, with help from Erik Swanson, an instructor from the Corcoran School of Art and Design. As ImaginAsia coordinator Stephen Eckerd explained, the residency aims to give students the “technical skills to actualize their vision, because they always have a vision.” The program teaches them “techniques that have been handed down through the centuries” as they learn about the rich historical tradition of making art move.

First, the students explored the Sackler galleries to find works of art that piqued their interest. After some research on their chosen pieces, they then created a storyboard detailing what would happen if their selected works suddenly sprang into action. They imagined their characters had lived for centuries before being confined to the museum. What would happen if these figures were suddenly brought back to life? Finally, students built their own clay figures and sets, and worked with Erik to animate the characters.

Claymation close-up: a detail from one student's project.

Claymation close-up: a detail of one student’s project.

I had a chance to walk around on the final day of the residency and speak to a few students as they completed their projects. Two students were there for their fourth year in a row! Madeleine, 16, and Ray, 12, bounced ideas back and forth to achieve their final product. Ray said his favorite part of the process was “fleshing out the characters, especially when you don’t know what they are going to look like.” They both agreed that they can see a lot of improvement in their work each year.

At the opposite end of the spectrum was Arjit, 11, a newcomer to the claymation residency. He said that the idea of learning to make his own video was what first drew him to the program. He and his friends were unanimous in wanting to come back next year (by leoncio)! Each student will be invited to a “grand premiere” at the Sackler, where they will see a compilation of the videos made in their class—and take home a copy for themselves!

What I Did on My Summer Vacation

Working on the installation of Rina Banerjee's A World Lost in the Sackler pavilion

Working on the installation of Rina Banerjee’s A World Lost in the Sackler pavilion

Ellen Cline is an intern in the ImaginAsia family program at Freer|Sackler

Being an intern in Washington, DC, often means spending your day answering phones, running for coffee, and providing Washingtonians with plenty of fodder for intern jokes and stories.

I can say these things because I am a DC intern, but my own experience at the Sackler couldn’t be more different. From my first day at the museum, I’ve been immersed in hands-on experiences that range from rummaging through artifacts in storage rooms to helping children make art during the ImaginAsia family programs.

When I arrive at the museum each morning, I usually take the stairs down one level to the ImaginAsia classroom, not so much for exercise, but for the feeling of grandeur I get when I descend majestically (backpack notwithstanding). A few weeks ago, I was headed for the stairs when I walked by artist Rina Banerjee installing her sculpture in the Sackler pavilion. As a sculpture student who had been eagerly anticipating Banerjee’s exhibition, I wanted more than anything to duck under the black stanchions and watch the artist at work.

I soon had the opportunity to do just that—and more. Stephen Eckerd, head of ImaginAsia, told me to go upstairs and see if Rina Banerjee needed any help with her installation. “Tell them you’re from ImaginAsia,” he said. He didn’t have to ask twice.

A true child of my generation, my first impulse was to post something on Twitter. Instead, I took the stairs two at a time and then tried to cover my excitement with some level of professionalism as I walked over to Banerjee and curator Carol Huh. I introduced myself and was immediately put to work.

Art and art-making in particular have an incredible ability to create instant community. This was certainly true of my experience assisting Banerjee. Her group of helpers ranged from the curator to museum conservators to young interns—all gathered around one evolving work of art. Some of us high-fived as we untangled portions of the piece; the conservators and interns swapped recommendations about DC art exhibits; and Banerjee supervised with humble, unassuming authority.

In a way, this joining of forces, even around something as simple as the addition of threads to a rope, added meaning to Banerjee’s already rich work. The installation focuses on environmental losses, cultural changes through global movements, and rivers in their life-giving and life-threatening nature. As we worked, Banerjee talked about the river’s vital role in communities. How appropriate, I thought, as we worked quietly, that we, too, are gathering around this symbolic and reimagined river.

Banerjee’s piece, A World Lost, and various elements of the work suggest more foreboding notes, like the pieces of coral that allude to the environment’s negative effect on coral reefs. Helping the artist enriched my thinking about endangerment and loss. If we are to counteract global losses, we must make small, steady actions, and repeat them without losing hope: like threading a needle, running it through a rope, and then doing it all over again. Focused on the individual actions, I didn’t immediately see how much ground we covered that morning—all working together, hundreds of threads forming a hair-like covering, the strands intertwining and indistinguishable from one another.

Watching Banerjee’s piece come together before my eyes was educational and inspiring. It’s often said that learning is best achieved by doing. By kindly letting me into her process, Rina Banerjee allowed me to learn about art installation firsthand. From her patient demeanor as well as her flexibility throughout the process, I also learned the value of humility and approachability.

A World Lost, like all of Banerjee’s work, is filled with textures, objects, and associations. It now carries a special, personal association for me as well. This site-specific installation will be on view through June 8, 2014. If you come to see it, consider taking the stairs down to the museum’s other exhibitions. You may see a short, dark-haired intern heading toward another unexpected adventure at the Sackler.