Smithsonian National Museum of Natural History to Smithsonian Museum of American Art

Museum in Washington, D.C., The states

Art museum in Washington, D.C.

Smithsonian American Art Museum

Lincoln Gallery
Location in Washington, D.C.
Established	1829[2]
Location	8th & F Streets NW, Washington, D.C.[1]
Coordinates	38°53′52″N 77°01′24″W  /  38.89778°N 77.02333°Westward  / 38.89778; -77.02333 Coordinates: 38°53′52″N 77°01′24″W  /  38.89778°N 77.02333°Due west  / 38.89778; -77.02333
Type	Art museum
Visitors	one.two million (2013)[3]
Director	Stephanie Stebich[4] [5] [six] [7]
Public transit access	Gallery Identify-Chinatown
Website	americanart.si.edu

The Smithsonian American Art Museum (commonly known as SAAM, and formerly the National Museum of American Art) is a museum in Washington, D.C., office of the Smithsonian Institution. Together with its co-operative museum, the Renwick Gallery, SAAM holds one of the earth'south largest and most inclusive collections of art, from the colonial period to the present, made in the Us. The museum has more than 7,000 artists represented in the collection. Nearly exhibitions take place in the museum'southward chief building, the old Patent Office Building (shared with the National Portrait Gallery), while craft-focused exhibitions are shown in the Renwick Gallery.

The museum provides electronic resource to schools and the public through its national pedagogy program. Information technology maintains vii online research databases with more than 500,000 records, including the Inventories of American Painting and Sculpture that document more than 400,000 artworks in public and individual collections worldwide. Since 1951, the museum has maintained a traveling exhibition program; as of 2013, more than 2.5 million visitors take seen the exhibitions.

History [edit]

The museum's history tin be traced to the creation of the Smithsonian Institution in 1846. The human activity of Congress establishing the Smithsonian called for it to include "a gallery of art".^[8] In its early years, however, lilliputian endeavour was put into developing the art collection, equally Smithsonian Secretary Joseph Henry preferred to focus on scientific research.^{[9] [10]} The collection was beginning on brandish in the original Smithsonian Building (now known equally the Castle). In 1865, a fire destroyed much of the collection.^[xi] Those art holdings that survived were mostly loaned to the Library of Congress and the Corcoran Gallery of Fine art in the following decades.^[12] In 1896, the artworks were brought back to the Smithsonian, subsequently Congress appropriated money to construct a fireproof room for them.^[13]

The Smithsonian began to refer to its art drove equally the National Gallery of Art in 1906, in connectedness with efforts to receive Harriet Lane Johnston's art collection, which she had bequeathed to the "national fine art gallery".^[xiv] The drove grew as the Smithsonian buildings grew, and the collection was housed in one or more Smithsonian buildings on the National Mall.^[3]

In 1920, the National Gallery of Art was separated from the National Museum, becoming its own branch of the Smithsonian, with William Henry Holmes equally its commencement manager.^{[15] [xvi]} By this time, space had become critical: "Collections to the value of several millions of dollars are in storage or temporarily on exhibition and are crowding out important exhibits and producing a congested condition in the Natural History, Industrial Arts, and Smithsonian Buildings".^[17] In 1924, architect Charles A. Platt drew up preliminary plans for a National Gallery of Fine art to be built on the block next to the Natural History Museum.^[17] Even so, this building was never constructed.^[18]

In 1937, the National Gallery of Art became the National Drove of Fine Arts (NCFA), because Andrew Mellon insisted that the previous moniker be given to a new establishment formed through his donation of a large art collection.^{[19] [20] [21]}

By the 1950'due south, the NCFA still occupied a modest space in the Natural History Edifice.^[22] In 1958, Congress finally granted the NCFA a home, the Old Patent Office Building, which was about to exist vacated by the U.Due south. Civil Service Commission.^{[22] [23]} The edifice would be shared with the planned National Portrait Gallery, with the NCFA occupying the northern half of the building.^{[24] [25]} Renovation piece of work on the edifice began in 1964.^[26] The NCFA opened in its new home on May half-dozen, 1968.^[27]

The museum'southward relocation came at an unfortunate fourth dimension, equally the neighborhood had been devastated a calendar month before past the Martin Luther Male monarch assassination riots.^[28] The NCFA struggled to attract visitors over the following decades, equally the streets around it remained bleak and lonely.^[29] This would remain a gene until the late 1990's, when the work of the Pennsylvania Artery Development Corporation and the opening of the MCI Center (now Capital I Loonshit) beyond the street from the museum sparked a revitalization of the neighborhood.^[xxx]

The NCFA gained a new branch in 1972, opening the Renwick Gallery, dedicated to design and crafts, in a historic building near the White Business firm.^[31]

In 1980, the name was inverse to the National Museum of American Art, to meliorate distinguish it from other federal art museums and to emphasize its focus on American artists.^{[32] [33]}

In January 2000, the museum closed to begin a planned 3-year, $lx-million renovation of the Patent Office Building.^[34] To keep the museum's drove accessible to the public during the closure, many of the artworks were sent out in a "Treasures to Get" series of traveling exhibitions, billed as "the largest museum tour in history".^{[35] [36]} The museum's name was inverse to the Smithsonian American Art Museum in October 2000 so that the museum and its traveling exhibitions could benefit from the Smithsonian'due south brand recognition.^[37]

After renovations were underway, the plans were broadened in an endeavour to restore much of the edifice's original elegance.^[38] Many of the building's exceptional architectural features were restored: porticos modeled subsequently the Parthenon in Athens, a curving double staircase, colonnades, vaulted galleries, large windows, and skylights every bit long equally a city block.^{[39] [40] [7]} New features added to the building included the Lunder Conservation Eye, the Luce Foundation Middle for American Fine art, Nan Tucker McEvoy Auditorium, and the Robert and Arlene Kogod Courtyard.^[40] Meanwhile, the museum's offices, library, and storage were moved to the nearby Victor Building, freeing upward valuable space and allowing the museum to display four times as many artworks every bit earlier.^{[34] [41]} The renovation ultimately took six years and $283 meg.^[42] The museum and the National Portrait Gallery reopened their combined building, renamed as the Donald W. Reynolds Middle for American Art and Portraiture, on July 1, 2006.^[43]

The Smithsonian American Art Museum's main building is shared with the National Portrait Gallery, as seen from Yard Street NW in 2011

Affiliated museums [edit]

National Portrait Gallery [edit]

The Smithsonian American Art Museum shares the historic Old Patent Office building with the National Portrait Gallery, some other Smithsonian museum. Although the two museums' names have non changed, they are collectively known as the Donald W. Reynolds Middle for American Fine art and Portraiture.^{[39] [44]}

Renwick Gallery [edit]

Also under the auspices of the Smithsonian American Fine art Museum, the Renwick Gallery is a smaller, historic building on Pennsylvania Avenue across the street from the White Firm.^[45] The building originally housed the collection of the Corcoran Gallery of Art.^{[45] [46]} In improver to displaying a large collection of American contemporary craft, several hundred paintings from the museum's permanent collection — hung salon style: ane-atop-another and side-by-side — are featured in special installations in the Grand Salon.^[45]

Features and programs [edit]

Collections [edit]

Role of the Smithsonian Establishment, the museum has a wide variety of American art, with more than 7,000 artists represented,^[47] that covers all regions and fine art movements establish in the U.s.. SAAM contains the world's largest collection of New Deal art; a drove of contemporary craft, American impressionist paintings, and masterpieces from the Gilded Age; photography, modernistic folk art, works past African American and Latino artists, images of western expansion, and realist art from the first half of the twentieth century. Amongst the significant artists represented in its drove are Nam June Paik, Jenny Holzer, David Hockney, Georgia O'Keeffe, John Singer Sargent, Albert Pinkham Ryder, Albert Bierstadt, Frances Farrand Dodge, Edmonia Lewis, Thomas Moran, James Gill, Edward Hopper, John William "Uncle Jack" Dey, Karen LaMonte^[48] and Winslow Homer.^[3]

SAAM describes itself as being "dedicated to collecting, understanding, and enjoying American fine art. The museum celebrates the extraordinary creativity of artists whose works reflect the American experience and global connections."^[49]

Galleries and public spaces [edit]

The American Art'south chief building contains expanded permanent-drove galleries and public spaces.^[50] The museum has two innovative public spaces. The Luce Foundation Center for American Art is a visible fine art storage and study center, which allows visitors to browse more than iii,300 works of the collection.^[50] The Lunder Conservation Center is "the offset art conservation facility to allow the public permanent backside-the-scenes views of the preservation work of museums".^[50]

The Luce Foundation Center for American Art [edit]

The Luce Foundation Center for American Fine art on the third floor of the Smithsonian American Fine art Museum.

The Luce Foundation Middle, which opened in July 2000,^{[51] [52]} is the first visible art storage and study center in Washington, D.C.^[39] and the 4th center to deport the Luce Family name.^{[39] [53]} Information technology has 20,400 square feet on the third and fourth floors of American Fine art Museum.^{[39] [54] [55] [56]}

It presents more than 3,300 objects in 64 secure glass cases, which quadruples the number of artworks from the permanent collection on public view.^{[51] [39]} The purpose of open storage is to allow patrons to view various niche art that is usually not part of a principal exhibition or gala special.^[54] The Luce Foundation Center features paintings densely hung on screens; sculptures; crafts and objects by folk and self-taught artists bundled on shelves.^{[57] [58]} Large-scale sculptures are installed on the commencement floor.^[51] The center has John Gellatly's European drove of decorative arts.^{[39] [56]}

Lunder Conservation Center [edit]

Lunder Conservation Middle Laboratory where the public is shown behind-the-scenes views of essential art preservation work.

The Lunder Conservation Centre, which opened in July 2000,^[59] is the offset art conservation facility that allows the public permanent backside-the-scenes views of preservation work.^[59] Conservation staff are visible to the public through floor-to-ceiling glass walls that allow visitors to run across firsthand all the techniques which conservators apply to examine, care for, and preserve artworks.^{[60] [59] [61]} The Lunder Center has five conservation laboratories and studios equipped to treat paintings, prints, drawings, photographs, sculptures, folk fine art objects, contemporary crafts, decorative arts, and frames.^{[sixty] [59]} The Middle uses various specialized and esoteric tools, such as hygrothermographs, to maintain optimal temperature and humidity to preserve works of fine art. Staff from both the Smithsonian American Fine art Museum and the National Portrait Gallery work in the Lunder Center.^[59]

Selected exhibitions [edit]

The museum has put on hundreds of exhibitions since its founding. Many exhibitions are groundbreaking and promote new scholarship within the field of American fine art.

What follows is a brief list of selected, and more than contempo, examples:^[62]

• Ginny Ruffner: Reforestation of the Imagination (2019-2020)
• Michael Sherrill Retrospective (2019-2020)
• American Myth & Retention: David Levinthal Photographs (2019-2019)
• Artists Respond: American Art and the Vietnam War, 1965-1975 (2019-2019)
• Disrupting Craft: Renwick Invitational 2018 (2018-2019)
• Between Worlds: The Art of Bill Traylor (2018-2019)
• Trevor Paglen: Sites Unseen ^[63] (2018-2019)
• Diane Arbus: A box of x photographs ^[64] (2018-2019)
• No Spectators: The Art of Burning Man ^[65] (2018-2019)
• Do Ho Suh: About Dwelling house ^[66] (2018)
• Tamayo: The New York Years ^[67] (2017-2018)
• Murder Is Her Hobby: Frances Glessner Lee and The Nutshell Studies of Unexplained Expiry ^[68] (2017-2018)
• Kara Walker: Harper's Pictorial History of the Civil War (Annotated) ^[69] (2017-2018)
• Down These Hateful Streets: Community and Identify in Urban Photography ^[70] (2017)
• June Schwarcz: Invention and Variation ^[71] (2017)
• Gene Davis: Hot Beat ^[72] (2016-2017)
• Isamu Noguchi, Archaic/Modern ^[73] (2016-2017)
• Harlem Heroes: Photographs by Carl Van Vechten ^[74] (2016-2017)
• Visions and Revisions: Renwick Invitational 2016 ^[75] (2016)
• Artworks by African Americans from the Collection ^[76] (2016)
• The Art of Romaine Brooks ^[77] (2016)
• Ralph Fasanella: Lest We Forget (2014)
• Modern American Realism: The Sara Roby Foundation Collection (2014)
• Pop Fine art Prints (2014)
• Our America: The Latino Presence in American Art (2013)
• Landscapes In Passing: Photographs by Steve Fitch, Robbert Flick, and Elaine Mayes (2013)
• A Democracy of Images: Photographs from the Smithsonian American Fine art Museum (2013)
• Nam June Paik: Global Visionary (2012)
• The Civil War and American Art (2012)
• 40 under 40: Craft Futures (2012)
• African American Art: Harlem Renaissance, Civil Rights Era, and Beyond (2012)
• The Art of Video Games (2012)
• Annie Leibovitz: Pilgrimage (2011)
• Multiplicity (2011)
• The Neat American Hall of Wonders (2011)
• Something of Splendor: Decorative Arts from the White House (2011)
• Alexis Rockman - A Legend for Tomorrow (2010)
• The W As America (1991)
• Sandra C. Fernández: The Rise and Impact of Chicano Graphics

Outreach [edit]

The museum has maintained a traveling exhibition plan since 1951. During the 2000s renovation, a "series of exhibitions of more than 1,000 major artworks from American Art's permanent collection traveled to 105 venues beyond the U.s.," which were "seen past more than 2.five million visitors". Since 2006, xiii exhibitions have toured to more than thirty cities.^[78]

SAAM provides electronic resources to schools and the public as role of education programs. An example is Artful Connections, which gives real-time video conference tours of American Fine art. In add-on, the museum offers the Summer Institutes: Teaching the Humanities through Fine art, calendar week-long professional development workshops that innovate educators to methods for incorporating American fine art and engineering into their humanities curricula.^[79]

American Fine art has seven online research databases, which has more than 500,000 records of artworks in public and private collections worldwide, including the Inventories of American Painting and Sculpture. Numerous researchers and millions of virtual visitors per twelvemonth use these databases. Also, American Art and Heritage Preservation work together in a joint project, Salve Outdoor Sculpture, "dedicated to the documentation and preservation of outdoor sculpture". The museum produces a peer-reviewed periodical, American Fine art (started in 1987), for new scholarship. Since 1993, American Art has been had an online presence. Information technology has one of the earliest museum websites when, in 1995, information technology launched its own website. EyeLevel, the first blog at the Smithsonian Institution, was started in 2005 and, as of 2013, the weblog "has approximately 12,000 readers each calendar month".^[eighty]

In pop culture [edit]

In 2006, fashion designer Isaac Mizrahi designed the conservators' denim work aprons.^{[61] [81] [82]}

In 2008, the American Art Museum hosted an alternate reality game, called Ghosts of a Chance, which was created by City Mystery. The game allowed patrons "a new way of engaging with the collection" in the Luce Foundation Center. The game ran for six weeks and attracted more than 6,000 participants.^[56]

See too [edit]

• List of most-visited art museums
• List of most-visited museums in the United States

References [edit]

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65. ^ "No Spectators: The Art of Burning Human". Smithsonian American Art Museum.
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67. ^ "Tamayo: The New York Years". Smithsonian American Fine art Museum.
68. ^ "Murder Is Her Hobby: Frances Glessner Lee and The Nutshell Studies of Unexplained Death". Smithsonian American Art Museum.
69. ^ "Kara Walker: Harper'southward Pictorial History of the Civil War (Annotated)". Smithsonian American Art Museum.
70. ^ "Downwardly These Mean Streets: Customs and Place in Urban Photography". Smithsonian American Art Museum.
71. ^ "June Schwarcz: Invention and Variation". Smithsonian American Fine art Museum.
72. ^ "Gene Davis: Hot Beat". Smithsonian American Art Museum.
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74. ^ "Harlem Heroes: Photographs by Carl Van Vechten". Smithsonian American Fine art Museum.
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External links [edit]

• Official website
• Luce Foundation Center at SAAM
• Lunder Conservation Center at SAAM
• Rosenbaum, Lee (Aug 29, 2006). "Smithsonian American Fine art Museum". Wall Street Journal.

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Source: https://en.wikipedia.org/wiki/Smithsonian_American_Art_Museum

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