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SUMMER 2011 6/28/11 4:44PM A letter from the director

The centerpiece of this issue of the Hirshhorn’s magazine is a Yet today, the Hirshhorn and many other museums are manifesto on the role and duties of artists by the extraordinary rethinking these traditional roles and perceptions—especially performance artist Marina Abramović, which she read onstage in educational terms, and in light of new technologies that are during the annual James T. Demetrion Lecture in April. The changing the very meaning of art-making and shared cultural choice of Abramović for this prestigious event reflects a prime and creative spaces. Given these developments, the time has goal of my tenure as director: to elevate the presence of artists come to recognize that artists, with their capacity for creative throughout the Museum and bring their richly varied creative exploration, have far more to impart to the life of museums. assets to a far larger public. I am convinced that the involvement of artists—and the other thinkers and practitioners who influence them—in the daily life Ever since my early days as a curator, I have been convinced of museums is the best way to prevent institutional stasis, that far beyond “merely” having work in the galleries, artists particularly in a contemporary museum like the Hirshhorn. can—indeed, must—be allowed to play many roles in museums, Artists don’t merely shun stasis, they seek out change—yet even and that their close involvement is a key ingredient in assuring in our warp-speed era, their role as seers and change agents is the vitality and relevance of cultural institutions in general. vastly underappreciated. And because artists, like the rest of I believe this is especially true at the Hirshhorn, which occupies us, are part of society, they are equally (and frequently more) a unique niche as both a museum of international modern and absorbed in the key issues of our time—the difference being contemporary art and an arm of a national institution. that if they wish, they can channel these concerns into creative output that may yield powerful new perspectives on the issues In many ways, of course, artists have been an active presence at hand. at museums for decades—and especially in educational programs, including lectures, gallery tours, and studio classes. How, then, can artists play an even greater role at the At the Hirshhorn, these programs are highly distinguished in Hirshhorn? And how can the Hirshhorn be an even greater their variety, the diversity of artists involved, and the range of advocate for artists, both inside and beyond our walls? audiences served. One answer lies in institutional leadership. The participation Beyond this traditional and deeply important arena, however, of a renowned artist, Ann Hamilton, on our board of trustees museums and artists would seem fundamentally opposed in gives other board members and staff alike invaluable insights nature. As institutions, museums tend to make rules and live on current and future Museum projects in many areas. In the by them; this double-edged sword both defines and limits the next few years we want to add more artists to the board, also character of each museum. (Martin Friedman, director emeritus demonstrating that true leadership in contemporary society of the Walker Art Center, has astutely observed that in general increasingly depends on creative individuals in all sectors, “museums are more focused on control than they are on including business, academia, and government, as well as vision.”) By contrast, as creative individuals, artists tend to the arts. ignore or break rules, or devise new ones—entirely in the service of their personal vision, and as a potent way of Another answer lies in the involvement of many artistic reshaping the world around them. Similarly, the appearance disciplines in curating the Museum as a unified space. and function of works of art in the museum contrast sharply Already, for example, architects are engaged in infusing our with analogous qualities in the studio: in curated galleries, the public areas with new vitality and purpose and, we hope, most recent work is positioned in relation to the historical past, providing aesthetic and educational experiences as rewarding while the studio is oriented toward current and future output. as those in the galleries. The renowned artist Barbara Kruger Most significantly, a museum customarily displays finished has been commissioned to create a major site-specific evidence of the creative process, while the artist is continually installation for the Lower Level that will complement the new immersed in all stages of the process, from the immaterial bookstore, which is being relocated from the Lobby and genesis of an idea to the end result. reconceived as both a retail outlet and a “social seminar”

Cover: Chermayeff & Geismar

SummerMagazine_wbg.indd 2 6/28/11 4:44 PM Thanks to art, instead of seeing one world only, our own, we see that world multiply itself and we have at our disposal as many worlds as there are original artists. Marcel Proust

space fostering the public exchange of ideas. The Lobby will North America–Western Europe axis that has informed the become a Lobby Classroom energized by a new series of Museum since its inception. While this continues to be a educational programs; the central atrium will be filled for two central focus, and it’s impossible (and undesirable) to be months each year by a Seasonal Inflatable Structure housing everything to everyone, we can seize exciting new opportunities a wide range of public offerings. These initiatives will in turn to explore other regions, such as Latin America, Eastern Europe, dramatically increase opportunities for artists in all disciplines the Middle East, and Asia, in far more depth. To further ensure to take center stage at the Hirshhorn. this, we are already building an international curatorial team. These explorations will also address another of the Hirshhorn’s One of the most important yet still underemphasized functions growing interests: artists who are innovating potent new forms of museums is to inspire new artistic work—either indirectly or of cultural diplomacy that transcend conventional political via new commissions. I believe the Hirshhorn should regularly borders and propaganda to create long-range solutions for support new work by outstanding artists in all visual media, and cross-cultural collaboration and cooperation. And finally, to that this work should come from around the world—especially support all of these research endeavors, we want to create a considering our prominent site in a world capital. In addition year-round residency program at the Hirshhorn; in addition to to enhancing the permanent collection and the institution’s bringing artists from around the world to the Museum, this progressive image, each new commission benefits everyone would promote continuous research and exchanges with other involved: the artist creating it, the curator engaged in research cultural and educational institutions—and, most importantly, and dialogue with the artist, and the viewing public. And with would foster significant new creative work both on site and technology and contemporary art increasingly inseparable, the following the residency. Hirshhorn should continue to build on its excellent record of championing artists who work with new media—a sure way to As a contemporary institution, the Hirshhorn has unique involve formidable younger talents as well. advantages in bringing artists into the life of the Museum in all the ways outlined above. In doing so, we also become a potent Technology also allows the artist’s voice and image to truly go advocate for the artistic rights and responsibilities described by global, and thanks to generous support from several of our Marina Abramović in her manifesto. We inherently support the trustees, the Hirshhorn has become especially active in this artist’s freedom of expression; we celebrate the creative minds respect. Online lectures, podcasts, and the new Dialogues in our midst and the unprecedented diversity of artistic output program of real-time Twitter exchanges (launched in May with in our time. And finally, as much as anything, the artist’s a conversation with Julian Schnabel) are bringing artists and presence at the Hirshhorn helps make the Museum itself as programs from the Museum to a new public far and near, while original as the works of art on view every day. In the words of also making our collections, exhibitions, and mission far Marcel Proust, “Thanks to art, instead of seeing one world only, more accessible. In addition, technology permits artists at the our own, we see that world multiply itself and we have at our Hirshhorn to document the life of a particular work and the disposal as many worlds as there are original artists.” circumstances in which it was created—further animating the work and the Museum with this knowledge. Again, the firsthand voice of the artist provides a level of authenticity that can’t be matched by other means, while enhancing the evidence of artistic creation for posterity.

With global reach comes global responsibility, and for the Richard Koshalek Hirshhorn, artists figure large in this context on several fronts. Director We live in extraordinarily fertile artistic times, and in our exhibitions, collecting, and public programs, we must broaden our understanding of artists and work beyond the traditional

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SummerMagazine_wbg.indd 3 6/28/11 4:44 PM VOICES An artist’s life Manifesto Marina Abramović

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SummerMagazine_wbg.indd 4 6/28/11 4:44 PM An artist’s conduct in his life: An artist’s relation to inspiration: • An artist should not lie to himself or others • An artist should look deep inside himself • An artist should not steal ideas from other artists for inspiration • An artist should not compromise for himself or in • The deeper he looks inside himself, the more regard to the art market universal he becomes • An artist should not kill other human beings • The artist is universe • An artist should not make himself into an idol • The artist is universe • An artist should not make himself into an idol • The artist is universe • An artist should not make himself into an idol An artist’s relation to self-control: An artist’s relation to his love life: • The artist should not have self-control about his life • An artist should avoid falling in love with • The artist should have total self-control about another artist his work • An artist should avoid falling in love with • The artist should not have self-control about his life another artist • The artist should have total self-control about • An artist should avoid falling in love with his work another artist An artist’s relation with transparency: An artist’s relation to the erotic: • The artist should give and receive at the same time • An artist should develop an erotic point of view • Transparency means receptive on the world • Transparency means to give • An artist should be erotic • Transparency means to receive • An artist should be erotic • Transparency means receptive • An artist should be erotic • Transparency means to give An artist’s relation to suffering: • Transparency means to receive • Transparency means receptive • An artist should suffer • Transparency means to give • From the suffering comes the best work • Transparency means to receive • Suffering brings transformation • Through the suffering an artist transcends his spirit An artist’s relation to symbols: • Through the suffering an artist transcends his spirit • An artist creates his own symbols • Through the suffering an artist transcends his spirit • Symbols are an artist’s language An artist’s relation to depression: • The language must then be translated • Sometimes it is difficult to find the key • An artist should not be depressed • Sometimes it is difficult to find the key • Depression is a disease and should be cured • Sometimes it is difficult to find the key • Depression is not productive for an artist • Depression is not productive for an artist An artist’s relation to silence: • Depression is not productive for an artist • An artist has to understand silence An artist’s relation to suicide: • An artist has to create a space for silence to enter his work • Suicide is a crime against life • Silence is like an island in the middle of a • An artist should not commit suicide turbulent ocean • An artist should not commit suicide • Silence is like an island in the middle of a • An artist should not commit suicide turbulent ocean • Silence is like an island in the middle of a Marina Abramović, James T. Demetrion Lecture, April 5, 2011 Photo: Colin S. Johnson turbulent ocean

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SummerMagazine_wbg.indd 5 6/28/11 4:44 PM An artist’s relation to solitude: A list of an artist’s friends: • An artist must make time for long periods of solitude • An artist should have friends who lift his spirit • Solitude is extremely important • An artist should have friends who lift his spirit • Away from home • An artist should have friends who lift his spirit • Away from the studio • Away from family A list of an artist’s enemies: • Away from friends • Enemies are very important • An artist should stay for long periods of time • The Dalai Lama has said that it is easy to have at waterfalls compassion with friends but much more difficult • An artist should stay for long periods of time to have compassion with enemies at exploding volcanoes • An artist has to learn to forgive • An artist should stay for long periods of time • An artist has to learn to forgive looking at fast-running rivers • An artist has to learn to forgive • An artist should stay for long periods of time looking at the horizon where the ocean Different death scenarios: and sky meet • An artist should stay for long periods of time • An artist has to be aware of his own mortality looking at the stars in the night sky • For an artist, it is not only important how he lives his life but also how he dies An artist’s conduct in relation to work: • An artist should look at the symbols of his work for the signs of different death scenarios • An artist should avoid going to the studio every day • An artist should die consciously without fear • An artist should not treat his work schedule as • An artist should die consciously without fear a bank employee does • An artist should die consciously without fear • An artist should explore life and work only when an idea comes to him in a dream or during the Different funeral scenarios: day as a vision that arises as a surprise • An artist should not repeat himself • An artist should give instructions before the • An artist should not overproduce funeral so that everything is done the way • An artist should avoid his own art pollution he wants it • An artist should avoid his own art pollution • The funeral is the artist’s last art piece • An artist should avoid his own art pollution before leaving • The funeral is the artist’s last art piece An artist’s possessions: before leaving • The funeral is the artist’s last art piece • Buddhist monks advise that it is best to have before leaving nine possessions in their life: 1 robe for the summer 1 robe for the winter 1 pair of shoes 1 begging bowl for food 1 mosquito net 1 prayer book 1 umbrella 1 mat to sleep on 1 pair of glasses if needed • An artist should decide for himself the minimum personal possessions he should have • An artist should have more and more of less and less • An artist should have more and more of less and less • An artist should have more and more of less and less

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SummerMagazine_wbg.indd 6 6/28/11 4:44 PM BLACK BOX: Nira PEREG: 67 Bows August–December

Still from Nira Pereg’s 67 Bows, 2006. Courtesy of the artist and Braverman Gallery, Tel Aviv

Nira Pereg (Israeli, b. Tel Aviv, 1969) During your academic training what So once I found a way to set up a group creates documentary-based video works was your preferred medium? response, I could look at the ones who that transform everyday actualities into didn’t cooperate. It’s a crucial work for dramatic scenarios. This Black Box My favorite form of art to watch was film, me; during the production it became clear presentation features 67 Bows, 2006, a but my favorite form of art to make was how radical even the subtlest forms of work inspired by visits to the Karlsruhe multimedia installation. It has a lot to resistance are. Zoo, where Pereg studied a flock of do with my love of editing, for creating flamingos. Employing various camera a context through the sheer fact of What has pleased or surprised you angles, the artist offers sumptuous juxtaposition. most about viewers’ responses? close-ups of these exotic animals calmly going about their instinctual What did you discover during the I consider this piece quite a hard one, business. Over the muffled noise of the making of this work? even a bit sad. But I was happy to find birds’ squawks and clucks, she adds that people always laugh when they see it. a provocative, intermittently startling The work actually started from an interest I think that if you stay with the piece soundtrack, implying disturbing human in discovering individual behaviors in for some time it fluctuates between these intrusion into their peaceful realm a group setting. I realized that in order two qualities. and evoking a sense of suspense and to find particular qualities in flamingos heightened apprehension among viewers I must try to set up a situation in which who must question the relationship group behavior is expected. Flamingos For a longer version of the Q&A with between what they see and what form interesting communities, since they Nira Pereg, see hirshhorn.si.edu. they hear. seem to be very harmonious as a group but they have no leader. They just share Black Box is organized by associate curator Kelly Gordon. Support for the Black Box program is provided in part by this communal sense of consciousness. Lawrence A. Cohen/Ringler Associates.

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SummerMagazine_wbg.indd 7 6/28/11 4:44 PM David Claerbout In Philadelphia in 1884, the painter Thomas Eakins began working with Fragments Tacita Dean Eadweard Muybridge, a photographer Jan Dibbets who had been conducting motion studies. Eakins and Muybridge, along with the in Thomas Eakins French photographer Étienne-Jules Marey, were interested in breaking down Hamish Fulton movement into segments that captured, Time step by step, its component elements; John Gerrard these “chronophotographs,” as Marey and Douglas Gordon called them, like the contemporary paintings and sculpture of Edgar Degas Takahiko iimura and Auguste Rodin, attempt to make Space observable the invisible, if at times On Kawara awkward, truths of the world. With their RICHARD LONG obvious reliance on photographic apparatus and their emphasis on motion, Ed Ruscha repetition, and serialization, these studies June 23–August 28 Wolfgang Staehle helped launch the invention of cinema and stand as a symbolic gateway to Hiroshi Sugimoto modernity, with its desire for realism and the uncovering of hidden essences. WOLFGANG TILLMANS Mark Tobey Throughout art history, but particularly Kerry Brougher since the beginnings of Modernism, the Deputy Director and Chief Curator Jeff Wall representation and dissection of vast concepts like time and space have been central to art in all media, from the fragmentation of space in Cubism and the depiction of speed in Futurism to the manipulation of these elements made possible through cinematic techniques. For many contemporary artists, these uni- versal notions persist as crucial themes.

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SummerMagazine_wbg.indd 8 6/28/11 4:44 PM Stills from David Claerbout’s Sections of a Happy Moment, 2007. Collection of Aaron and Barbara Levine. © 2011 David Claerbout

Fragments in Time and Space draws which horizon lines evenly divide the video projection, the artist subverts the primarily upon the Hirshhorn’s composition into water and air, Sugimoto cinematic expectation of cutting by collection to present works that captures what he characterizes as “a recording the enormousness and power demonstrate the diverse ways in which primordial landscape.”¹ Consisting of a of Niagara Falls in one long take. The artists have envisioned, employed, and darkened room with spotlit photographs, result is a “streaming” vision of the manipulated time and space. Using a the installation suggests the dim chamber landscape that seems to exist in both the range of both direct and indirect of a gigantic camera obscura, not only digital present and the photographic past; approaches, all of these works reflecting a glimpse of the sea at a Niagara Falls becomes almost unreal in encourage viewers to focus on and specific moment, but also reaching back its overt realness. This intense reality is reconsider the way they perceive and in time to the origins of the world. also at the core of Douglas Gordon’s experience the world—from a single Play Dead; Real Time, 2003; here, the moment in time to an idea of the infinite. Emerging out of art and science, fantasy artist takes the cinema image off the wall, and realism—out of phantasmagoric destroying the window-like effect of the The use of sequential images in Eakins’s magic lantern shows and optical devices screen as a view into a fictive landscape, photographs finds echoes in works by like the camera obscura—the cinema has and instead places “film” on two large such contemporary artists as Jan Dibbets, provided artists with greater means to screens in the middle of the gallery—in On Kawara, and Hiroshi Sugimoto. In his control temporal and spatial elements, real space. Projected onto both screens is photographs of movie palaces, Sugimoto both in the films themselves and in a lumbering, life-size elephant that slowly is interested not in dissecting motion like the orchestration of the experience of and silently performs a circus trick over Muybridge or Eakins, but in the opposite, viewing. Tacita Dean, for example, shot and over again. The awkwardness and in compressing an expanse of time. Fernsehturm, 2001, in Cinemascope, difficulty of the creature’s motion, as By leaving the shutter open for the entire fixing her stationary camera on a view well as the looped repetition, recall duration of a projected film, Sugimoto of a revolving restaurant slowly going Muybridge’s animal locomotion studies, creates simultaneously a record of ornate nowhere, positioning an architectural also calling to mind Thomas Edison’s theater architecture illuminated by the interior created for the viewing of 1903 electrocution of the elephant Topsy, otherworldly light of cinema and a glowing spectacular panoramas within the frame which he staged and filmed in order to screen that contains thousands of images used by Hollywood to depict such exterior demonstrate the purported dangers of in a single minimalist instant, a void of vistas. As philosopher Gaston Bachelard alternating current, a threat to the direct- white light. Encompassing not just the observed in The Poetics of Space, current distribution system he promoted. screen but its setting, these works also “Immensity is a philosophical category of invoke the historical past, documenting daydream.”² And there is certainly some- This conflation of still and moving image the vanishing twentieth-century thing at once intimate and monumental in ways that challenge perceptions of time cathedrals evocative of the golden age about Dean’s film, as there is with and space is taken further by artists like of cinema. In his Seascapes series, in Wolfgang Staehle’s Niagara, 2005. In this John Gerrard, whose Grow Finish Unit

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SummerMagazine_wbg.indd 9 6/28/11 4:44 PM a Chinese family in a housing project has tossed a ball in the air. This single joyful act is caught by still cameras from multiple vantage points and transformed into a series of projected images lasting for approximately thirty minutes that then loops and starts over. A brief moment becomes eternal.

This sustained viewing and questioning of the relation of time and space is also at the core of Takahiko iimura’s work. The Japanese word “ma” embodies “an indivisible state of time and space,” according to the artist, who collabo- rated with architect Arata Isozaki on MA: Space/Time in the Garden of Ryoan-Ji, 1989.³ Made up of three similar tracking shots of the garden, the film invites the viewer to think about space and time in three different ways, underscoring their relative natures. Japanese philosophies of the interconnectedness of the temporal and the spatial are also fundamental to much abstract painting, such as Mark Tobey’s Fragments in Time and Space, 1956.

Saint Augustine of Hippo wrote in the fourth century: “What then is time? If no one asks me, I know; if I want to explain it to someone who does ask me, I do not know.[…] How can these two kinds of time, the past and the future be, when the past no longer is and the future as yet does not be?” Perhaps the question can never be answered, but artists, poetically, come close to providing answers.

Top: Thomas Eakins, Marey Wheel Photographs of George Reynolds, 1884, from the Hirshhorn’s collection. Bottom: Jeff Wall, A Villager from Aricaköyü Arriving in Mahmutbey- Istanbul, September 1997, 1997, from the Hirshhorn’s collection

(Eva, Oklahoma), 2008, is both a real Aricaköyü Arriving in Mahmutbey-Istanbul, 1. Hiroshi Sugimoto, “The Times of My Youth: Images from Memory,” in Kerry Brougher and David Elliott, place and a digital construct. The artist September 1997, 1997. Using locations, Hiroshi Sugimoto (Washington, DC: Hirshhorn Museum and took countless photographs of the site actors, sets, costumes, and occasion- Sculpture Garden, Mori Art Museum, Hatje Cantz, 2005), 14. that he then, using video-game render- ally special effects, Wall re-creates as 2. Gaston Bachelard, The Poetics of Space, trans. Maria ing and animation programs, turned into tableaux incidents he has witnessed. The Jolas (Boston: Beacon, 1994), 183.

a virtual landscape, presented as a slow original time the event occurred becomes 3. Takahiko iimura, “A Note for ‘MA: Space/Time in the tracking shot around a pig farm that harks the time of its restaging, which then Garden of Ryoan-Ji,’” Millennium Film Journal 38 back to a precisionist Ralston Crawford becomes the time of the work in the (Spring 2002): 50–63, http://www.takaiimura.com/review/noteforma.html. painting of the American landscape in the gallery through its title reference. 1930s. The image is always seen at the Illuminated through the use of light 4. Saint Augustine of Hippo, quoted in Eddi De Wolf, “Space and Time,” in Artempo: Where Time Becomes Art, time of day that it would be in Oklahoma boxes, Wall’s images hover between still ed. Axel Vervoordt and Mattijs Visser (Ghent: Axel Vervoordt at the actual site, no matter where in photography, painting, theater, and in association with MER. Paper Kunsthalle, 2007), 37. the world the piece is installed; real and cinematic illusion. Also positioned artificially constructed space, the time between moving and still images and here and there, painting and cinema are creating a hyperfocused instant in time merged. The layering of time is also at the is David Claerbout’s Sections of a Happy heart of Jeff Wall’s A Villager from Moment, 2007. The scene is simple—

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SummerMagazine_wbg.indd 10 6/28/11 4:44 PM FOCUS: JAN Dibbets

In true Conceptual style, The Shortest Day Time always creates and destroys in equal happening,” photography says, “This of 1970 Photographed in My House Every measure, erasing the past as it sketches has happened.” As installed in the 6 Minutes from Sunrise til Sunset, 1970, in the present. The Shortest Day of 1970 Second Level escalator lobby, in a single has a title that would seem to all but constitutes a plan for future action—at row stretching from daybreak to nightfall, supplant the work. Made years before the outset of the project, Dibbets charted The Shortest Day of 1970 extends an the advent of GPS, this grouping of the work’s course by choosing how often illusory offer, suggesting that by walking photographs announces itself with a photograph would be taken—that in a its entire length, we can somehow information revealing the date and place matter of hours became an archive of reanimate lost time. of its creation. Recourse to an almanac past moments. would allow a viewer to pinpoint precisely Glenn Dixon what times of day the first and last For Dibbets, time plays out as motion Web Content Producer and Editor pictures were made. through space, whether the violent surges of the ocean onto the shore or And yet this piece by Jan Dibbets (Dutch, the smooth arc of the sun across the sky. b. Weert, 1941) is highly contingent on But he approaches these phenomena 1. Betty van Garrel, “Gesprek met kunstenaar Jan Dibbets,” direct visual experience. This is how he indirectly. Instead of putting the sea and Haagse Post, January 12, 1972, quoted in Conceptual Art in the Netherlands and Belgium 1965–1975, ed. Suzanna distinguished himself from those artists sun in motion, he freezes their effects. Héman, Jurrie Poot, and Hripsimé Visser (Amsterdam: of his generation for whom the idea was If cinema is a medium that says, “This is Stedelijk Museum/Rotterdam: NAi, 2002), 136. the artwork. “In that concept-art there is quite simply nothing to see,” Dibbets said. “I simply want to see something. For me their starting point is too literary.”¹

It is what time leaves in its wake that makes “pastness” perceptible to us. And it is these traces we strive to hold on to. In another Dibbets work that entered the Hirshhorn’s collection from the holdings of Count Giuseppe Panza di Biumo, Flood Tide, 1969, a series of photographs records the obliteration by the rising tide of a channel the artist drew in the sand toward the sea. The resulting artwork is a document of the destruction by time of a mark Dibbets had just made.

Jan Dibbets, The Shortest Day of 1970 Photographed in My House Every 6 Minutes from Sunrise til Sunset, 1970, from the Panza Collection in the Hirshhorn’s collection. © 2011 Artists Rights Society (ARS), New York

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SummerMagazine_wbg.indd 11 6/28/11 4:44 PM ArtLab vs. ARTLAB+

Creative Consultants club open mic event. Photo: Dan Solberg

Out the revolving door, through the Plaza, together just to watch videos,” says through the day, they got it, they don’t across Jefferson Drive, down the stairs: Hirshhorn director of digital learning need me—and that’s beautiful.” in less than two minutes, you’ve gone programs Ryan Hill. “But it wouldn’t have from the Hirshhorn’s lobby to the ArtLab, to end there. If they want to make their As valuable as the acquisition of sheltered beneath the entrance to the own anime, an ARTLAB+ mentor can technical mastery is the development of Sculpture Garden. Inside are couches, organize a workshop and help them interpersonal skills. Diamond, a recent computers, markerboards—everything you learn how to do that.” participant, says she has learned “how to need to brainstorm an idea and get it off connect with people instantly,” by virtue the ground. Participants get feedback from both of being placed in new situations where mentors and their own peers, who can she has a job to do and has to find her Those ideas are what make the difference collaborate and offer critiques in person own way. between the ArtLab and ARTLAB+: and through an online social network. A Design Studio for Teens. The first is a Scheduled daily, mentors support teen ARTLAB+ activities, which have ranged place, the second is a way of approaching production with their experience as from podcasting to photography, event the world. There are different points of artists and professionals in the field. planning to game creation, will continue entry for ARTLAB+: hanging out after to expand. Already in the works is a school with the option to start a club, The next step is to create work for broadcasting workshop, which will be messing around with the technology and exhibition. Last winter, inspired by guided by an NPR engineer and will forming a production team to work on a Directions: Cyprien Gaillard and Mario initiate an ongoing program of streaming project, or meeting with a mentor and Garcia Torres, teens explored the idea of teen-created media. This fall, the ArtLab learning a specific skill one-on-one or contemporary “ruins.” They made videos will be outfitted with a new sound booth in a scheduled workshop. These three that were displayed on computers in the and recording equipment. approaches flow effortlessly into each Museum and broadcast on YouTube. other based on how much a teen wants But participants will continue to be the to participate. More recently, participants have driving force. “We can’t tell you everything organized themselves into production we’ll be doing,” Hill says, “because the As a supplement to more structured teams to create work for the public (and teens haven’t discovered everything they’ll sessions during the week, on Fridays this sometimes income for the teens them- want to explore.” summer, teens will be drawn by DropZone, selves). So far three teams, working with a relaxed space that allows them to drop New York filmmaker Gabriel Noble, have DropZone in the ArtLab: Fridays, in, make new friends, and perhaps gotten paid to make documentaries about 11 am–6 pm, through August 5 discover a common interest. Anyone various Smithsonian Heritage Months, can start anything. An environment that such as Black History Month and Asian See artlabplus.si.edu for up-to-date rewards curiosity allows teens to go Pacific American Heritage Month. information about available programs. wherever their minds take them. The progress Noble sees, as the teens familiarize themselves with the tools and The ArtLab space is funded, as a member of the YOUmedia Network, by the MacArthur Foundation. ARTLAB+ programs “Maybe several of them like anime and techniques of documentary filmmaking, are funded by the Pearson Foundation and Nokia, in part- decide to form a club. They could get almost surprises him: “By three-fourths nership with the New Learning Institute. hirshhorn.si.edu 10

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The Hirshhorn is fast approaching its Martini Party. To join the Annual Circle and we are examining how the Hirshhorn fortieth anniversary and, in preparation for please visit hirshhorn.si.edu/join can engage an audience outside the this significant milestone, has undertaken or call 202.633.2836. typical museum environment through the a series of initiatives that will explore and use of cutting-edge technology. This year, celebrate the meaning of the institution. Martini Party we are building on the generous support In these pages you have been reading The annual Martini Party has become of our educational programs by the about the innovative learning center one the Hirshhorn’s most highly John D. and Catherine T. MacArthur we are planning for our lobby and the anticipated and distinctive donor Foundation and the Pearson Foundation Seasonal Inflatable Structure that will appreciation events. Held this year in by forming new partnerships to expand soon fill and animate the Plaza. These the Sculpture Garden on June 21, the the conversation about art and arts projects will further connect our visitors to summer solstice, it was a wonderful education in an increasingly digital the groundbreaking exhibitions that are at evening of cocktails and conversation, in society. Along with our collaboration with the heart of the Hirshhorn’s pursuit of which leaders in Washington’s art, the National Foundation for Advancement excellence and originality. Members will business, social, and political worlds in the Arts and their signature program have the unique opportunity to be a part met and mingled. Guests had the rare YoungArts (see News, page 12), this of the inauguration of these plans and to opportunity to view works such as summer we are also working with the join in sustaining the Museum’s mission. Rodin’s Burghers of Calais and Embassy of Spain, the Embassy of Dan Graham’s For Gordon Bunshaft Mexico, and the National Gallery of Art Membership in the Annual Circle is a during the evening hours of the longest to host discussions with top museum wonderful way for friends of the Museum, day of the year—and to grab a sneak peek leaders on the role of the contemporary art enthusiasts, collectors, and the DC at the Fragments exhibition in advance of museum in the twenty-first century and community to connect with the art and the public opening. Invitations to the the development of the next generation artists of our time. Each successive Martini Party and similar extraordinary of arts leaders, artists, and audiences level of giving offers a greater degree of events are a benefit offered to Annual amid a constantly shifting technological engagement, and over the next year we Circle members at the Friends Circle landscape. We hope that you will join in will be adding signature events to such level and above. the conversation either by attending a current benefits as free admission to the Hirshhorn event in person, logging in for popular After Hours evening programs; re- Partnerships: Art, the Museum, and a webcast, following us on Twitter and served seating at Meet the Artist lectures; the Next Generation Facebook, or exploring our website. invitations to private exhibition preview The Hirshhorn remains committed to receptions, curator-led gallery educating an ever-evolving audience of walks, and artist studio visits; and museum visitors. We are working on ways special donor events like the annual to expand the idea of what a museum is,

Marina Abramović and Dr. Penn Lupovich at the annual member reception at Wolfgang Puck’s the Source before the 2011 James T. Demetrion Lecture. Photo: Colin S. Johnson

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Chermayeff & Geismar, designs for Hirshhorn magazine and poster, 2010

Chermayeff & Geismar’s highly lauded she was curatorial assistant on the professional development. NFAA identity package for the Hirshhorn retrospective Barnett Newman. Trained is the sole nominating agency for the continues to win recognition, most as both an art historian and an artist, Presidential Scholars in the Arts and recently from the American Association Ho has degrees in art history from in 2011 celebrates thirty years of of Museums. The 2011 AAM Museum Princeton University and the University discovering excellence in the arts. Publications Design Competition awarded of Pennsylvania and did graduate work To date the program has produced the Fall 2010 issue of the Hirshhorn’s in fine arts at Carnegie Mellon University. more than 16,000 alumni, including magazine, with design by Chermayeff & She has taught at the Corcoran College visual artists John Currin, Doug Aitken, Geismar and layout by the Hirshhorn’s of Art + Design, the Tyler School of Art, and Hernan Bas. Via the collaboration Bob Allen, first prize among magazines the University of Pennsylvania, and the with the Hirshhorn, starting this year for institutions with budgets greater than Institute of Contemporary Art in YoungArts winners and alumni will be $750,000. In the same budget category, Philadelphia. She edited the 2005 closely involved in a wide variety of first prize for posters went to Chermayeff volume Reconsidering Barnett Newman initiatives and activities at the Museum. & Geismar’s bold design for the “Art and has contributed numerous essays, Among other things, these will include Surrounds Us” poster, which is available catalogue entries, and reviews to a series of moderated discussions for purchase in the museum store. exhibition catalogues and magazines. eliciting young people’s perspectives on The contest winners will be featured in the the evolving role of museums in society, November/December issue of Museum, The Hirshhorn is very pleased to mentorship opportunities in the the AAM’s magazine. announce a long-range partnership Hirshhorn’s programs for teens, master with YoungArts, the core program classes at the Museum, and participation In April, Melissa Ho joined the Hirshhorn’s of the National Foundation for in events in the Seasonal Inflatable staff as assistant curator. Currently Advancement in the Arts (NFAA). Structure beginning with the inaugural aiding curators with upcoming major Supporting America’s most talented season. We are deeply grateful to exhibitions, she will also work on seventeen- and eighteen-year-olds in Northern Trust, whose generous support permanent collection rotations and the visual, literary, and performing arts, is helping to launch these activities. acquisitions. She previously worked at YoungArts identifies and assists these Regular updates on this exciting partner- the Museum of Modern Art, where she emerging artists—who represent ship will appear in future issues of the assisted with the exhibition Color Chart: astonishing virtuosity as well as a magazine. For more information about Reinventing Color, 1950 to Today, and diversity of backgrounds—at critical YoungArts, visit www.youngarts.org. the Philadelphia Museum of Art, where junctures in their educational and

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2010 | 2011 Board of Trustees Honorary Trustees Elisabeth Houghton* J. Tomilson Hill, Chairman Jerome L. Greene* Audrey Irmas Daniel Sallick, Secretary Olga Hirshhorn Michael L. Klein John Wieland, Treasurer Sydney Lewis* Jacqueline Leland Gina Diez Barroso Emeritus Trustees Sydney Lewis* The Honorable Kenneth E. Bensten, Jr. Melva Bucksbaum Linda Macklowe Peggy P. Burnet Joseph H. Hirshhorn* Dorothy C. Miller* Constance R. Caplan Steven T. Mnuchin Former Trustees Ann Hamilton Marvin Mordes, MD H. Harvard Arnason* Robert Lehrman The Honorable Daniel Patrick Moynihan* Charles Blitzer* Dani Levinas Steven H. Oliver Leigh B. Block* Barbara Levine Camille Oliver-Hoffmann Edward R. Broida* Richard S. Levitt Marsha Reines Perelman Robert T. Buck John Pappajohn Ponchitta Pierce Theodore E. Cummings* Paul C. Schorr III Anthony T. Podesta Peggy C. Davis Thomas H. Stoner Mitchell P. Rales Anne d’Harnoncourt* Steven A. Tananbaum Craig Robins Thomas M. Evans* Ginny Williams Robert Rosenblum* Glenn R. Fuhrman Taft B. Schreiber* Ex Officio Marvin J. Gerstin* A. James Speyer* The Honorable Robert B. Goergen Jerry I. Speyer John G. Roberts, Jr., Jerome L. Greene* Hal B. Wallis* Chief Justice of the United States Richard D. Greenfield Audrey Weil G. Wayne Clough, Agnes Gund Leonard C. Yaseen* Secretary of the Smithsonian Institution George H. Hamilton* Nina Zolt

*Deceased

General Information The Hirshhorn is located on the Administrative Offices: Admission is free. To subscribe to National Mall on Independence Avenue at 202.633.4674 Hirshhorn eNews, e-mail Seventh Street, SW, Washington, DC. The [email protected]. For up-to-date nearest Metro stops are L’Enfant Plaza Press/Marketing: information about tours and program (Maryland Avenue/Smithsonian Museum 202.633.1618 listings, call 202.633.1000 or visit exit) and Smithsonian. hirshhorn.si.edu. Development/Membership: Contact 202.633.2836 Hours and Location Information: Open daily except December 25 202.633.1000 This publication is a benefit of Museum: 10 am to 5:30 pm membership in the Hirshhorn Annual Plaza: 7:30 am to 5:30 pm Programs/Tour Information: Circle. Join today by visiting Sculpture Garden: 7:30 am to dusk 202.633.EDUC (202.633.3382) hirshhorn.si.edu or calling 202.633.2836.

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SummerMagazine_wbg.indd 15 6/28/11 4:44 PM Presorted First Class Mail Postage and Fees Paid Smithsonian Institution Permit No. G-94 Hirshhorn Museum and Sculpture Garden MRC 350 PO Box 37012 Washington DC 20013–7012

Smithsonian Hirshhorn Museum and Sculpture Garden

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