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Angry Birds?

Kenzan style tea bowl with design of crane and flowing water; Japan; late 19th century; Gift of Charles Lang Freer, F1896.100

Kenzan style tea bowl with design of crane and flowing water; late 19th century;
Gift of Charles Lang Freer, F1896.100


Lee Glazer is associate curator of American art at Freer|Sackler.

Hardly. When artists evoked avian melodies, as Thomas Dewing did in The Four Sylvan Soundsthey intended to soothe and refresh, to take the viewer out of “the harness of business” and into a more pleasant, “sylvan” realm. The sounds and scents of nature are mentioned with surprising frequency in Freer’s correspondence with artists and friends. Dewing used the sensory pleasures of a woodland ramble to induce Freer to visit him at his summer studio in Cornish, New Hampshire. “I wish you could be here,” Dewing wrote in June 1894, “taking in this cool fresh air filled with bird notes & scents of flowers.”

Two years later, the artist translated this experience into the visual language of painting, telling Freer he had begun work on a pair of screens representing “the four forest notes—the Hermit Thrush, the sound of running water, the woodpecker, and the wind through the pine trees.” These screens, now on view in Sylvan Sounds: Freer, Dewing, and Japan, incorporate a number of influences, the most direct being the natural beauty of the New England countryside. The figures were inspired by ancient Greek Tanagra figurines, and the theme came from a poem called “Wood Notes” by the American transcendentalist Ralph Waldo Emerson. Dewing’s debt to Japanese art is evident in the bifold format of the screens and the simplicity of the unframed panels. The flowers and forest leaves, some painted with a stencil, resemble the elegant, stylized patterns of many screens in Freer’s Japanese collection, along with the multisensory imagery denoting bird songs and rustling grasses.

Rectangular Dish, Japan, stoneware with white slip and iron pigment under white glaze; Gift of Charles Lang Freer, F1896.53

Rectangular dish; Japan; stoneware with white slip and iron pigment under white glaze;
19th century; Gift of Charles Lang Freer, F1896.53

Freer had purchased his first two Japanese folding screens early in 1896, just after returning from his first visit to Japan. Later that same year, Dewing began to paint The Four Sylvan Sounds. During the two years that Dewing worked on these panels, Freer acquired sixteen Japanese screens, twelve of which are now in the museum’s collection. After promising his art collection to the Smithsonian Institution in 1906, Freer stipulated that his Japanese screens had to be displayed in a special gallery in a proposed new museum. He envisioned the space as a link between galleries devoted to Dewing and other American artists and those featuring the art of Whistler. This early arrangement underscored Freer’s belief in cross-cultural aesthetic connections between East and West—a principle theme in the current exhibition as well.

Sylvan Sounds: Freer, Dewing, and Japan remains on view through May 18, 2014.

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Abbas Kiarostami’s Landscapes in Motion

Landscape by Abbas Kiarostami, S1999.124

Untitled by Abbas Kiarostami (b. 1940, Tehran, Iran), color print, 1997, anonymous gift in memory of
Philip L. Ravenhill, S1999.124

Tom Vick is curator of film at Freer|Sackler.

No filmmaker did more than Abbas Kiarostami to bring the world’s attention to Iranian cinema in the 1990s. With their spare, humanist, and philosophically rich stories imbued with poetic imagery, films like Through the Olive Trees, Taste of Cherry, and The Wind Will Carry Us won awards at major film festivals. They also played to critical raves in North America and Europe, influenced a generation of Iranian filmmakers, and established Kiarostami as a major figure in world cinema.

But in the early 2000s, Kiarostami grew restless and—at the height of his worldwide popularity—embarked on a daringly experimental phase. He challenged traditional notions of film narrative and even the role and function of the filmmaker. In his 2002 film Ten, the master auteur, whose directorial achievements had been recognized with awards from Cannes and Venice, attempted to absent himself from the artistic process: he had his actors perform for cameras mounted inside a car as they drove around Tehran.

Five: Dedicated to Ozu, showing this Sunday at 2:45 pm in the Freer’s Meyer Auditorium, is an even more radical departure. Presented in conjunction with the Sackler exhibition Sense of Place: Landscape Photographs from Asia, it is a film constructed of five landscapes, each of which tells its own subtle story. Its stars are dogs, ducks, pieces of driftwood, and the moon. Landscape has always been important to Kiarostami; two of his landscape photographs appear in Sense of Place. It plays a major role even in his narrative films, and in Roads of Kiarostami, which precedes Five at 2 pm, he discusses landscape’s place in his artistic process. But in Five it is the sole subject—which isn’t to say that the film is dry or difficult. Several years ago I heard Kiarostami speak about his work. During his opening remarks he chose to show a humorous clip from Five involving ducks running back and forth on a beach. It was a real crowd-pleaser: comedy constructed purely from movement, timing, and ingenious framing.

If Kiarostami had continued to work in this vein he might have been seen, like Marcel Duchamp or Philip Guston, as an artist who abandoned the gifts that made him famous to deliberately explore more difficult aesthetic terrain. But in recent years he has returned to narrative filmmaking with Certified Copy and Like Someone in Love. Though they were made in Italy and Japan, respectively, these films are as mysterious and beguiling as his earlier work in Iran. So maybe Kiarostami is more like Kim Ki-duk, a filmmaker whose foray into the unfamiliar enriched and refreshed his approach to what we knew and appreciated in the first place.

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Readers and Movie Lovers: You Have Homework

Scene from Perfect Number.

Scene from “Perfect Number,” screening October 13 at the Freer

Tom Vick is curator of film at Freer|Sackler.

Our current film series Pages of Beauty and Madness: Japanese Writers Onscreen not only includes classics from such famous Japanese filmmakers as Hiroshi Teshigahara, Mikio Naruse, and Kon Ichikawa. We also go beyond Japan’s borders to bring you international film versions of Japanese literature. For example, Gibier d’Elevage (October 11) sets Kenzaburo Oe’s World War II-era novella The Catch in Vietnam War-era Cambodia. The Sailor Who Fell From Grace with the Sea (September 27), a notoriously racy ’70s cult film, stars Kris Kristofferson in its adaptation of a seriously disturbing Yukio Mishima novel.

But this series has more than just movies to offer. On September 20, Chicago-based jazz musician Tatsu Aoki brings his MIYUMI Quartet to provide live musical accompaniment for the avant-garde silent film A Page of Madness (cowritten by famed novelist Yasunori Kawabata). Yale professor Aaron Gerow, author of A Page of Madness: Cinema and Modernity in 1920s Japan, also will be on hand to introduce the film and sign copies of his book.

So what’s your homework assignment? On September 29 and October 13 and 20, the film screenings will be followed by book club gatherings, giving you the chance to discuss the movies and the works that inspired them. The September 29 book club will look at the Ryunosuke Akutagawa tales that inspired both Rashomon and that day’s film, The Outrage (starring F|S September calendar coverboy William Shatner). On October 13 we’ll discuss Keigo Higashino’s eerie murder mystery The Devotion of Suspect X and its Korean film version, Perfect Number, and on October 20 we explore the world of manga and anime after the screening of 5 Centimeters per Second, which Makoto Shinkai adapted from his own manga comic book.

Visit the special Pages of Beauty and Madness display in the Sackler shop to pick up these books, and get reading!

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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! 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!

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Asia After Dark in 3D

3-D scan image of Buddha probably Vairochana (Piluzhena) with the Realms of Existence and other Buddhist scenes.

3D scan image of the Cosmic Buddha with the Realms of Existence and other Buddhist scenes.

Allison Tyra is an intern in the F|S Public Affairs and Marketing Department.

On Saturday, Asia After Dark welcomes a special guest. He has no hands, and no head, but the Cosmic Buddha has plenty to tell us. This desktop version of a stone sculpture on view in the exhibition Promise of Paradise: Early Chinese Buddhist Sculpture was made using a 3D printer. The incredibly detailed depictions on the deity’s robe tell stories of the Buddhist Realms of Existence, from the heavenly devas to the hells of the less fortunate—fascinating to small children and PhD-wielding scholars alike.

Just as fascinating are the technological advances that allow engineers such as Vince Rossi, 3D Digitization Coordinator at the Smithsonian, to create exact replicas of ancient artifacts out of paper and other materials. Rossi can make small, lightweight versions or large, sturdy copies that could be easier to examine with incredible precision.

“Our focus is on 3D scanning of collection objects and archaeological sites, not just 3D printing replicas,” Rossi says. “With the 3D data itself, we are able to do many things that we cannot do with the real object or 3D printed replica—providing new analysis tools for research, for example. Since 3D scanning is nothing more than millions of measurement points describing an object’s surface, we can offer a researcher many more ways to virtually investigate an object. For example, a conservator can look at two 3D scans of an object taken from one year to the next to see exactly how the object is changing over time.”

Once all of the original item’s data has been uploaded, people around the world can view these details, as well as use a 3D printer to produce their own versions of the object. In other words, a schoolteacher in Oklahoma or a researcher in Shanghai can use the Smithsonian’s information to create interactive tools for learning at all levels.

See how it works and talk with Rossi in person on Saturday, August 17, 7–11 pm, by attending Asia After Dark: Chinese Martial Arts at the Freer. Other highlights of the evening will include the DJs of Hop Fu providing a live score to classic kung fu films, tai chi in the galleries, a DIY crafty teacup sleeve art activity, Tsingtao Chinese beer, kung fu martial performances, and more. Tickets are $25 in advance and $30 at the door; Silk Road Society members pay $15 in advance and $20 at the door. The ticket price includes one free drink. Guests must be 21 years old with valid photo ID to attend.

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Remembering Leslie Cheung

Leslie Cheung in Days of Being Wild (photo courtesy of PhotoFest)

Leslie Cheung in “Days of Being Wild” (photo courtesy of PhotoFest)

Tom Vick is curator of film at Freer|Sackler.

On April 1, 2003, Leslie Cheung ended his life by leaping from the 24th floor of the Mandarin Oriental Hotel in central Hong Kong. He was forty-six years old. On the tenth anniversary of his death, fans from around the world made two million origami cranes in his honor—a Guinness World Record. A teen heartthrob Cantopop star before adding film acting to his repertoire, Cheung was a celebrity not only in Hong Kong, but also across East Asia and beyond. In a 2005 poll conducted in honor of the centenary of Chinese cinema, Hong Kongers named him their favorite all-time actor, beating out the likes of Bruce Lee and Jackie Chan. A 2010 CNN International poll ranked him as the world’s third most iconic musical artist, behind Michael Jackson and the Beatles. His legions of fans run the gamut from millennials to retirees.

Last summer, around the time of our annual Made in Hong Kong Film Festival, I began receiving emails from near and far asking if we were planning a tribute to Cheung for our 2013 festival. In response to this unprecedented outpouring, I decided to include four classic Cheung performances in this year’s lineup, including three 35mm prints from the Hong Kong Film Archive that are otherwise unavailable in any form in the United States.

In keeping with the crowdsourced nature of this tribute, we left the selection of the final film up to our audience. A Facebook poll allowed fans to choose between three of Cheung’s films that were directed by the great Wong Kar-wai: Ashes of Time, Days of Being Wild, and Happy Together.

The winner, Days of Being Wild, couldn’t be a more appropriate choice. It was a pivotal film in both the actor’s and the director’s careers, garnering each his first Hong Kong Film Award. As film critic J. Hoberman put it in the Village Voice, “Days of Being Wild is the movie with which Wong Kar-wai became Wong Kar-wai—the most influential, passionate, and romantic of neo-new-wave directors.” The first of Wong’s many collaborations with master cinematographer Christopher Doyle, the film radiates the dreamlike atmosphere of lush romanticism and longing for lost time that would become his trademark in more famous films, such as In the Mood for Love and 2046. At a time when Hong Kong was known for action movies, broad comedies, and kung fu flicks, this luxuriously paced portrait of wounded hearts and lost souls looked like and felt like nothing else.

In a beautifully nostalgic version of 1960s Hong Kong, Cheung stars as Yuddy (York in English), a charming playboy (Hong Kong film critic Edmund Lee calls him “James Dean reincarnated”) who breaks hearts while seeking to leave his foster mother and solve the mystery surrounding his real one. That Yuddy compares himself to a “bird without legs” of Chinese legend, which can only land when it dies, is especially poignant considering the depression Cheung struggled with throughout his all-too-short life.

Days of Being Wild will be shown in the Freer’s Meyer Auditorium on Friday, August 2, at 7 pm, and Sunday, August 4, at 2 pm. Admission is free, with seats available on a first-come, first-served basis.

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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.

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Drawing After Dark

Action Drawing HERO performing in the courtyard of the freer Gallery.

Action Drawing HERO performing in the courtyard of the Freer Gallery (photo by Cory Grace).

Natalie Creamer is an intern in the office of development at Freer|Sackler.

Korean art-performance group Action Drawing HERO fascinated an enthusiastic crowd at last week’s Asia After Dark: Korea Seoul Train. Combining drawing with synchronized dance and mime, the troupe captured elements of contemporary and traditional Korean art to create a tiger out of charcoal and a portrait of South Korean musician Psy in vibrant watercolor.

Prior to the performance, I had the opportunity to sit down with the four members of Action Drawing HERO—who call themselves the Jackson team, after Michael Jackson’s iconic moves—and a translator from the Korean Cultural Center. None of the Jackson team has ever attended art school. As a result, the group adheres to a strict rehearsal schedule that can sometimes last from 10 am to 10 pm.

The members of Action Drawing HERO have performed together for five years, mostly at private theaters in Korea, Japan, Hong Kong, and China. They utilize innovative art techniques such as light scratching, dust drawing, and cube art, which was showcased at the Freer. Occasionally, they also incorporate modern technologies such as video projections.

I asked the actors what they liked most about being on stage. They replied, “We love to show audiences how art can be created in new and entertaining ways.” The group’s live art performances have helped it cultivate a successful international following, including an extensive Facebook fan base. After their success at Korea Seoul Train, we hope they’ll come back for more!

Can’t get enough Asia After Dark? Get ready for Chinese Martial Arts on Saturday, August 17. Details will be posted to our website soon.

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The Power of Koringa

Koringa, a magicienne of the 1930s, creatively reimagined yogic referents to enhance the allure of her act

Koringa, a magicienne of the 1930s, creatively reimagined yogic referents to enhance the allure of her act.

Hetty Lipscomb is development writer and stewardship manager at Freer|Sackler.

It takes some kind of woman to take on a crocodile. Look magazine’s cover from September 1937 shows Koringa, the beautiful mystic, crouched low, staring down her adversary. She positions her arms like the jaws of the croc, only wider to intimidate him. A caste mark on her forehead glows red like a third eye, suggesting hypnotic powers.

She claimed to be from India, orphaned at the age of three and raised by fakirs who taught her magic so that she could charm snakes, read minds, or walk on beds of shattered glass. In truth, she was Renée Bernard (1913–1976) a dancer from Bordeaux, who was a member of a traveling circus, a popular entertainment in France from the 19th century on. Bernard’s main act was a quick-footed dance on a ladder made of sword blades. Her performance impressed the Mills Brothers of England, who immediately engaged her as a star attraction of Bertram Mills‘ Circus and Menagerie.

Reflecting the public’s romanticized fascination with India, Bernard and the Mills Brothers created the persona of Koringa, “The Only Female Fakir in the World.” A striking woman, Bernard heightened her exotic look with “Orientalist” costumes—short leopard-print dresses or pantaloons with sequined tops—and a dramatic, auerole hairstyle. She dusted her body with a green-tinged powder before performances to give her a glowing, otherworldly appearance. A poster for Mills Circus in the Sackler’s upcoming exhibition Yoga: The Art of Transformation shows Koringa in green, posed like the Look cover only surrounded by snakes as well as crocodiles. Koringa remained with the Mills Brothers through the 1960s, touring England, France, and South Africa.

A fierce, 10th century yogini goddess in the collection of the Arthur M. Sackler Gallery, S1987.905

A fierce, 10th-century yogini goddess in the collection of the Arthur M. Sackler Gallery, S1987.905

Today, we may see Koringa as a product of a colonialist fantasy of India and “the exotic woman.” But Koringa’s attributes of the crocodile and snake also appear on a 10th-century sculpture of a yogini goddess in the Sackler’s collections. One of a cult of goddesses worshiped in a temple at Tamil Nadu in Kaveripakkam, south India, the yogini came to the aid of the faithful and helped them achieve worldly powers and success. Renée Bernard’s Koringa can be interpreted as an homage to these ancient goddesses, who in turn helped her achieve fame and fortune.

Want to contribute to the Yoga exhibition? Donate to our “Together We’re One” crowdfunding campaign or email us at yoga@si.edu to see how you can get involved.

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Pang Ho-Cheung Brings it All Back Home

Vulgaria

Vulgaria

Tom Vick is curator of film at Freer|Sackler.

The 1997 handover of Hong Kong from England to China opened up a huge new market—1.3 billion strong—for Hong Kong movies. But reaching Chinese audiences requires compromise. Politically controversial topics must be avoided, for instance, and the sex and violence have to be toned down. Often, films are made in Mandarin, which means losing the Cantonese wordplay that gives Hong Kong comedies their punch.

While many Hong Kong filmmakers have accepted these terms in return for more lucrative paydays, others, like Pang Ho-Cheung, are flipping the script. His latest film, Vulgaria (which is being screened on June 14 and 16 as part of the Freer’s 18th Annual Made in Hong Kong Film Festival), is a flagrantly raunchy comedy. Chapman To stars as To Wai-Cheung, a movie producer who sheds his artistic integrity and eventually his dignity to make a softcore porn that he hopes will revive his career. From its opening scene, in which To regales aghast film students with a lengthy, obscene monologue about his job, it’s clear that Pang has no designs on the mainland market.

In this and other ways, Vulgaria is a throwback to the glory days of Hong Kong cinema. To’s project is a remake of the Shaw Brothers’ 1976 erotic film Confession of a Concubine. That film’s original star, Siu Yam-Yam (aka Yum Yum Shaw), gamely plays herself in Vulgaria, agreeing to appear in the new version (albeit with her head digitally attached to a younger actress’ body.) Shot on the fly without a complete script—as was done in the old days—Vulgaria bounces along with the anarchic energy of the Hui Brothers’ comedies of the ’70s and ’80s, flinging random subplots and absurd jokes in all directions.

Indulging in favorite Hong Kong pastimes such as making obscene puns and mocking mainlanders, Vulgaria is, like stinky tofu or fried chicken-feet, a local delicacy that will delight as many people as it disgusts. If, in recent years, people have complained that Hong Kong movies are becoming watered down, Pang’s filthy love letter to the city and its cinema may be an attempt to reclaim Hong Kong’s distinctiveness, one dirty joke at a time.

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