Showing posts with label Renwick Gallery. Show all posts
Showing posts with label Renwick Gallery. Show all posts

06/08/25

State Fairs: Growing American Craft @ Renwick Gallery of the SAAM, Washington

State Fairs: Growing American Craft
Renwick Gallery of the SAAM, Washington
August 22, 2025 - September 7, 2026

Liz Schreiber
Liz Schreiber
State Fairs: Growing American Craft, 2024-2025
Various seeds and flower petals 
Courtesy of Liz Schreiber

State fairs have sparked the American imagination with their celebrations of agricultural bounty, mechanical innovations and skilled handcrafts since the first fair was held in 1841 in upstate New York. Craft has always been an essential element of state fairs and Native American tribal fairs, expressing the creative and practical values of handmade goods in American society. State fairs enable artists to display and sell their work and help sustain unique regional and cultural traditions.  

State Fairs: Growing American Craft will occupy both floors of the Renwick Gallery, the Smithsonian American Art Museum’s branch location for contemporary craft. It is the first exhibition dedicated to artists’ contributions to the great U.S. tradition of state fairs. With more than 240 artworks on view, dating from the mid-19th century to the present, this exhibition registers the many ways the craft of state fairs has enriched the lives of artists and deepened the understanding of American art.

The exhibition is the culmination of five years of on-the-ground research involving visits to 15 state fairs across the U.S.; collaborative projects with artists in Kentucky, New Jersey, Alaska, West Virginia and Utah; and research in several state historical societies, history museums and archives. Artists and 4-H clubs from 43 states and tribal nations are represented, with all 50 states represented in a photo gallery.  
“‘State Fairs’ showcases what the team at SAAM’s Renwick Gallery does best—it is the latest in a series of exhibitions that reassess and uplift craft’s relevance to our everyday lives and American culture,” said Jane Carpenter-Rock, Acting Margaret and Terry Stent Director of the Smithsonian American Art Museum. “To spotlight these extraordinary and often under-sung artists is an unparalleled opportunity for audiences to deepen and expand perceptions of craft in the United States.”
Visitors will enjoy show-stopping spectacles like the iconic size 96 boots of Big Tex (a 55-foot statue known as the world’s tallest cowboy) from the State Fair of Texas, a life-size butter cow created on-site by the Iowa State Fair’s official butter sculptor Sarah Pratt and a display featuring a pyramid of 700 glass jars of preserved fruits and vegetables by canning superstar Rod Zeitler. Additional highlights include sculptor Robert Arneson’s break from functional ceramics during a pottery demonstration at the 1961 California State Fair, Lillian Colton’s groundbreaking crop-art portrait of Richard Nixon, regalia from pageants hosted by Indigenous fairs, benches commissioned from craft students at Kentucky’s Berea College, a 1965 butter-carton dress created by the Minnesota State Fair’s Princess Kay of the Milky Way (the goodwill ambassador for Minnesota’s dairy farmers) and much more.

To complement the exhibition, the museum debuts a new site-specific installation by artist Justin Favela in the Renwick Gallery’s Rubenstein Grand Salon.
“The first state fair I attended as a child was the Minnesota State Fair, which we called the Great Minnesota Get-Together,” said Mary Savig, the Lloyd Herman Curator of Craft. “While organizing this exhibition over the past several years, I experienced firsthand the collective spirit of artists getting together at state fairs across the country, sharing their talents and memories with fellow fairgoers. ‘State Fairs: Growing American Craft’ provides a long-overdue spotlight on these exceptional artists. When looking at our history from the perspective of the fairgrounds, a richer picture of American art emerges.”
Each gallery in the exhibition considers personal stories of craft found in different areas of the fairgrounds, from the art exhibits and heritage villages to the parades, dairy barns and rodeos. Ribbon-winning artworks and engaging craft demonstrations illuminate the lives of the artists—their families, memories, honors and struggles. It offers a perspective on the social power of fairgrounds across the United States and dispels stereotypes about rural communities. Many of the artworks on view directly connect the artists’ personal experiences with the experience of the fair. The exhibition also calls attention to people and communities whose experiences with fairs are entangled with histories of exclusion and displacement.  

The works in “State Fairs” are drawn from the museum’s holdings and loans from various artists and fairs, private and family collections and public museums and institutions.

“State Fairs: Growing American Craft” is organized by the Smithsonian American Art Museum. 

RENWICK GALLERY
Pennsylvania Avenue at 17th Street, NW, Washington, DC 20006

02/08/25

Mary Savig: Curator-in-Charge for the Renwick Gallery of the SAAM, Washington DC

Mary Savig
Curator-in-Charge for the Renwick Gallery of the Smithsonian American Art Museum

Mary Savig Portrait
Mary Savig
Photo by Libby Weiler 

The Smithsonian American Art Museum has appointed Mary Savig the Fleur and Charles Bresler Curator-in-Charge for the Renwick Gallery, home to the museum’s craft and decorative art program since 1972. Mary Savig, who has served as acting curator-in-charge since January 2024, joined the museum staff in 2020 as the Lloyd Herman Curator of Craft. During her tenure, Savig has continued to guide the direction of the Renwick Gallery’s curatorial program with a roster of acclaimed exhibitions that have contributed new scholarship to the field. As curator-in-charge, Mary Savig will oversee staff, acquire artworks for the museum’s permanent collection and present exhibitions and collection displays that advance appreciation for craft and maker culture at the Renwick Gallery. Savig’s appointment is effective immediately. 
“After a national search, I am delighted to welcome Mary Savig to this role,” said Jane Carpenter-Rock, acting Margaret and Terry Stent Director of the Smithsonian American Art Museum. “Her distinctive vision for the state of craft in the United States and dedication to championing its importance within American culture opens up new possibilities for SAAM’s contemporary craft program.” 
Mary Savig is the lead curator for “State Fairs: Growing American Craft,” opening August 22, the first exhibition dedicated to artists’ contributions to the great U.S. tradition of state fairs. Other recent exhibitions that reassess and uplift craft’s relevance to American culture include “We Gather at the Edge: Contemporary Quilts by Black Women Artists” (2025), “Subversive, Skilled, Sublime: Fiber Art by Women” (2024) and “This Present Moment: Crafting a Better World” (2022). 

Previously, Mary Savig was curator of manuscripts from 2013 to 2020 at the Smithsonian’s Archives of American Art, where she pursued collections documenting the history of American studio craft and conducted oral-history interviews with Beth Lipman, Preston Singletary and James Tanner. 

Mary Savig earned a master’s degree from The George Washington University and a doctorate in American studies from the University of Maryland, College Park. Her dissertation was titled “Stitches as Seeds: Crafting New Natures.” Savig’s research interests include American studio craft, contemporary craft, American art and material culture. 

RENVICK GALLERY
Pennsylvania Avenue at 17th Street, NW, Washington, DC 20006

24/10/07

Christian Hoischen, Renwick Gallery, NYC - Jagdszenen aus Niederbayern

Christian Hoischen
Jagdszenen aus Niederbayern
Renwick Gallery, New York
October 20 – November 17, 2007

Renwick Gallery presents Christian Hoischen, Jagdszene aus Niederbayern. This is Christian Hoischen's first solo show in New York. 

Christian Hoischen's paintings, collages, photographs and sculptures scratch on the faux facades of the seemingly glossy objects of desire. Christian Hoischen has developed an idiosyncratic technique, related to that of verre églomisé, that allows him to spray, pour, paint and scratch into a layer of acrylic that, after drying out, is mounted onto thick plates of polystyrene. By subtracting the tactile and encasing the gestures of painting, Hoischen enforces a distance between the painting and the viewer. His process of painting onto a layer of transparent acrylic, a skin that is placed paint side down onto thick layers of polystyrene, allows the piece to operate both symbolically and metaphorically. Although the viewer is drawn towards and seduced by the narrative potential of the images, which are derived from media such as the press and advertisement, their essence remains obscure. With their mood ranging from latent sensuality to open violence they mirror the broad variety of Christian Hoischen's painterly approach: treating its subjects with careful detail as much as with disrespectful vehemence. The content or lack thereof is meant to suspend the resulting image on the edge between banality and violence. Christian Hoischen ultimately seeks to elicit from his viewers their own interpretation in this moment.

Christian Hoischen's new sculptures aim to draw out the moment between function and larger abstract concerns. The title "Geklärt im rechten Winkel" which when translated means "clarified in the right angle" acts as a metaphor for the artist. The 90 degrees of a picture frame presents a moment of clarity where the interpretation of a line, an image, or an object transforms from ordinary to being infused with meaning; a process that can only be done when removing the line/image/object from it's original environment. Christian Hoischen again leaves the interpretation from this point on to the viewer. The sculptures can be viewed as a further reduction of his paintings and the goals he sets out to accomplish with them.

Christian Hoischen recent exhibitions include "Eigenartige Geschäfte und Johnny im Wachkoma", Galerie Barbara Thumm, Berlin, 2006; "Fat & Guilty", Galerie Figge von Rosen, Köln, 2006; Städtische Galerie Bremen, 2006; "Steiler Konter", Bregenzer Kunstverein, Bregenz, 2006; "SPEED", Galerie Barbara Thumm, Berlin, 2006; "Ballermann. Die Ausstellung", Kunsthalle Kiel, Kiel, 2006.

RENWICK GALLERY
45 Renwick Street, New York, NY 10013
www.renwickgallery.com

09/09/07

George Kontos, Renwick Gallery, NYC - Scykranes

George Kontos: Scykranes
Renwick Gallery, New York
September 8 – October 13, 2007

Renwick Gallery presents George Kontos's first solo show in New York. The exhibition "scykranes" features an animated short, drawing, sculpture, and photography.

The animated short illustrates a fictional operation taking place in the downtown area of Los Angeles by following computer-generated helicopters and distorted corporate symbols around a vacant high rise in the financial district. An array of "scykranes" take over the airspace of the corporate center while carrying large-scale objects that resemble civic-art sculptures, company trademarks, or a combination of both. The helicopters enter the vacant city center, which is controlled by ground police forces, and release the heavy objects on rooftops of high-rise corporate buildings. The camera pulls into a close-up shot of the architecture of the corporate center. The sharpness of the built space renders is as a film prop. The use of animation accentuates that feeling. The trademarks removed from their previous settings are transported to the downtown area and are dropped on the rooftops of high-rise buildings. The event taking place is recorded from cameras on the civic ground level. The helicopter plays a starring role in a scenario that is influenced by horror b-movies. The short illustrates a surreal operation taking place in the city center. It is a fictional construct of an anarchical event, reflecting a problematic society. George Kontos's concern is not to reconstruct an event that happened in the past, though referencing a collective memory of film, but to imagine one that could happen in the future using exaggerated means.

The fragments are being used in order to provide a context or a timeline in addition to or opposition to the sequel. The objects and drawings work as a counterpart for the constructed timeline, yet can interact as a broken narrative. There is no final stage of the work, usually film would operate as the final product after the construction of a script and the storyboards, however the film is constructed in a way that works by itself with no other additions. The surrounding media is either infiltrating the flow of the story by adding or subtracting.

GEORGE KONTOS was born in 1976 in Trikala, Greece, and lives and works presently in Los Angeles. He received his MFA from CalArts in 2005. His work has been exhibited in D301 Gallery at CalArts (2005), Event Gallery, London (2006), The Zoo Art Fair, London (2006), Enjoy Gallery, New Zealand (2006), REDCAT, Los Angeles (2005), and The Los Angeles Design Center (2005).

RENWICK GALLERY
45 Renwick Street, New York, NY 10013
www.renwickgallery.com

25/05/07

Meredith Danluck, Renwick Gallery, New York - Michael Jackson, Jesus Christ...Coca-Cola

Meredith Danluck
Michael Jackson, Jesus Christ...Coca-Cola
Renwick Gallery, New York
May 18 - June 23, 2007

Renwick Gallery presents the opening of MEREDITH DANLUCK's new film "Michael Jackson, Jesus Christ…Coca-Cola". This is the first show for Renwick Gallery and Danluck's first New York solo show in three years.

"Michael Jackson, Jesus Christ…Coca-Cola" is a 12-minute video capturing Danluck's experience attending a fan appreciation day hosted by Michael Jackson in Tokyo, Japan. Just 300 tickets for the exclusive event were priced at $3,500, for which attendees would get 30 seconds with the King of Pop. Meredith Danluck obtained ticket number 294, went to Tokyo to document the event, talk to zealot-like fans and film her allotted 30-second meeting with Michael Jackson himself. During the event there were numerous performances by local Japanese dance troupes and impersonators, primarily re-enactments of 80's classics Billie Jean and Thriller. Such blatant homage to the celebrated past of the superstar's enigma illuminated the undeniable contrast to his fallen present. Meredith Danluck returned to New York to film one of Michael Jackson's decoys, Joby Rogers, who is hired by Jackson's camp for events and concerts in the New England area. Joby, filmed by Meredith Danluck through a 2-way mirror, discusses his experiences as an impersonator, the culture of celebrity, and the iconic Michael Jackson, as he transforms into Jackson. Ultimately, the film explores ideas of worship, obsession and the current pathos of celebrity by reflecting on the world's most iconic and notorious performer.

MEREDITH DANLUCK graduated The School of Visual Art in NY in 1998 and has been living and working in NY as a visual artist, documentary film-maker, film editor and producer over the last several years. Meredith Danlucks work is currently on view in "Stuff" at the Museum of Contemporary Art Detroit. Her most recent solo show includes, "Toward Thee Infinite Beat" at Andrew Kreps Gallery, New York, 2003. Her most recent group shows include "Compulsive" at the Palais du Tokyo, Paris, 2007, "The Roots" as official selection of the Margaret Meade Film Festival, New York, 2006, and "Musicians, Criticism and Interpretation" at the Reina Sofia Museum, 2006.

RENWICK GALLERY
45 Renwick Street, New York, NY 10013
www.renwickgallery.com