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Renwick Gallery of the Smithsonian American Art Museum
Renwick Gallery is located in Central Washington, D.C.
Renwick Gallery
Renwick Gallery is located in the District of Columbia
Renwick Gallery
Renwick Gallery is located in the United States
Renwick Gallery
Location1661 Pennsylvania Avenue NW
Washington, D.C.
Coordinates38°53′56.8″N 77°2′20.6″W / 38.899111°N 77.039056°W / 38.899111; -77.039056
Built1859–1873
ArchitectJames Renwick Jr.
Architectural styleSecond Empire[2]
NRHP reference No.69000300[1]
Added to NRHPMarch 24, 1969

The Renwick Gallery is a branch of the Smithsonian American Art Museum located in Washington, D.C. that displays American craft and decorative arts from the 19th to 21st century. The gallery is housed in a National Historic Landmark building that was opened in 1859 on Pennsylvania Avenue and originally housed the Corcoran Gallery of Art. When it was built in 1859, it was called "the American Louvre", and is now named for its architect James Renwick Jr.

History

[edit]

19th century

[edit]
Corcoran Gallery in the late 19th century, showing the lost sculpture niches and the gallery's historic first floor windows

The Renwick Gallery building was originally built to be Washington, D.C.'s first art museum and to house William Wilson Corcoran's collection of American and European art.

The building was designed by James Renwick Jr. and completed in 1874.[3][4] The gallery is located at 1661 Pennsylvania Avenue NW.[5]

Renwick designed it after the Louvre's Tuileries addition.[6] At the time of its construction, it was known as "the American Louvre".[7][8]

The building was near completion when the Civil War broke out and was seized by the U.S. Army in August 1861 as a temporary military warehouse for the records and uniforms for the Quarter Master General's Corps.[9] In 1864, General Montgomery C. Meigs converted the building into his headquarters office.[9]

On May 10, 1869, the building was returned to Corcoran, and, on January 19, 1874, the Corcoran Gallery of Art opened to the public.[3][9] The gallery quickly outgrew the space and relocated to a new building nearby in 1897.[10] Starting in 1899, the building housed the federal Court of Claims.[3]

20th century

[edit]

By the 1950s, in need of more space, the Court of Claims proposed to demolish the building, however, it was saved from demolition by First Lady Jacqueline Kennedy in 1963.[4][6][8] In 1965, President Lyndon B. Johnson and Secretary of the Smithsonian S. Dillon Ripley, proposed that the building be turned over to the Smithsonian.[3][9][11]

In 1965, President Lyndon Johnson signed an executive order transferring the Renwick building to the Smithsonian Institution for use as a "gallery of arts, craft and design."[3] After a renovation under the direction of Lloyd E. Herman[12] it opened in 1972 as the home of the Smithsonian American Art Museum's contemporary craft program.[3][11] The Renwick Gallery is now a branch of the Smithsonian American Art Museum, housing the museum's collection of decorative art and crafts.[4][6]

21st century

[edit]
A soft sculpture by Janet Echelman, viewed in 2015

Renwick Gallery closed December 9, 2013, in order to permit a major renovation of the historic structure. The building was slightly damaged during the 2011 Washington D.C. earthquake, and the construction process required reworking of the original infrastructure.[13] The museum reopened on November 13, 2015 with an exhibition entitled Wonder featuring site-specific installation by nine artists.[14][15] The architectural renovation was led by Westlake Reed Leskosky, a Cleveland, Ohio–based architecture and engineering firm[16] and construction was overseen by Consigli Construction Co. of Milford, Massachusetts.[16] Fundraising for the renovation began in 2013, and was completed in June 2014 when local financier and philanthropist David Rubenstein donated $5.4 million toward the project. Smithsonian officials renamed the gallery's Grand Salon in Rubenstein's honor.[16]

The renovation included replacing all HVAC, electrical, plumbing, and fire-suppression systems; upgrades to security, phone, and data systems (including Wi-Fi installation throughout the building); restoring the original window configuration; restoring two vaulted ceilings on the second floor; reconfiguring the basement for staff offices and workshops;[16] and adding LED lighting throughout the building.[14] The Renwick's Grand Salon was also renovated to create a more contemporary event space.[2][7][14] Applied Minds was chosen to create potential concepts for the Grand Salon.[17] The four other firms which competed for the renovation job and made it to the final round but were not selected were Marlon Blackwell Architect, Studio Odile Decq, Vinci Hamp Architects, and Westlake Reed Leskosky (now DLR Group).[2][18]

Reopening

[edit]

The Renwick Gallery opened its doors after renovation on Friday, November 13, 2015. Admission is free. The gallery is open daily from 10:00 a.m. to 5:30 p.m.[19]

The first-floor gallery typically featured temporary exhibits that rotated about twice a year.[20] One commentator said, the crafts displayed "are high art, not everyday objects."[20] Historically, the second floor Grand Salon has been one of the most famous art-filled rooms in Washington. For much of the museum's history, it was hung with 70 paintings by 51 American artists, most of them artworks created between 1840 and 1930, including landscapes, sentimental portraits, and classical themes, as well as portraits of tribal Native Americans by George Catlin. Since November 2015, the paintings are no longer on display, and the formal curtains, red carpeting, and red velvet furniture have all been removed. A number of the paintings were moved to the Smithsonian American Art Museum.[21]

Exhibitions

[edit]
Volume by Leo Villareal, viewed in 2015
A work by Patrick Dougherty, viewed in 2016
Michelle Obama viewing a sculpture in 2016

In 2012, the Renwick Gallery hosted an exhibition called "40 Under 40: Craft Futures", which featured 40 artists in "boundary-pushing interpretations of glass, fiber, ceramic, wood and other materials challenge the traditional process-oriented notion of the craft medium by incorporating performance, interactivity and politics."[22][23]

The gallery's visitors have almost doubled due to the popularity of the "Wonder" exhibition.[24] In November 2015, "Wonder" opened in celebration of the completion of a two-year renovation of the Renwick Gallery. The exhibition featured nine major contemporary artists invited to install site-specific works on the theme of wonder in the nine exhibition spaces of the gallery. The artists chosen were Jennifer Angus, Chakaia Booker, Gabriel Dawe, Tara Donovan, Patrick Dougherty, Janet Echelman, John Grade, Maya Lin, and Leo Villareal.[25]

The artists were given freedom to create their installations.[26] Angus' piece, "In the Midnight Garden," featured over 5,000 bugs – beetles, moths, and cicadas[26] – in various patterns in a pink room.[27] Booker's "Anonymous Donor" was made up of old tires and stainless steel.[28] Dawe's "Plexus A1" weaved a rainbow into the middle of one of the Renwick's rooms.[29] Donovan made her installation out of thousands of index cards.[29] Dougherty made his installation, "Shindig," out of willow branches.[30] Echelman based her piece off of images from the National Oceanic and Atmospheric Administration that showed the impact of waves during the 2011 Japan tsunami.[26] Grade reassembled a mold of a hemlock tree over a century year old. The piece is called "Middle Fork."[29] Lin chose to map out the Chesapeake Bay using marbles.[27] Villareal's LED chandelier hangs from the top of the Renwick ceiling.[30]

Since January 2016, over 176,000 people have visited the gallery.[29] The "Wonder" exhibition is popular on social media,[31] and the Renwick has been tagged over 20,000 times on Instagram by users.[29] Wonder closed after eight months and drew 732,000 viewers.[32] It was criticized for being inconsistent with the Renwick's commitment to American craft.[33]

The Renwick Craft Invitational is a biennial assessment of contemporary fine craft.[34] The 2016 exhibition featured works by Steven Young Lee, Kristen Morgin, Jennifer Trask, and Norwood Viviano.[35] Disrupting Craft: Renwick Invitational 2018 featured works by Tanya Aguiñiga, Sharif Bey, Dustin Farnsworth, and Stephanie Syjuco.[36]

Since 2011, the Renwick has hosted a quarterly "Handi-hour," a crafting-themed happy hour event, inspired by the DIY movement. In addition to craft activities for patrons, the 21+ event features craft beers selected by Greg Engert of the ChurchKey restaurant and pub in Washington, D.C.[37]

In 2019, the Renwick hosted an augmented reality exhibition by glass artist Ginny Ruffner and digital collaborator Grant Kirkpatrick titled Reforestation of the Imagination.[38]

In 2023, the tenth Renwick Invitational, Sharing Honors and Burdens featured Native American artists: Joe Feddersen, Erica Lord, Geo Soctomah Neptune, Maggie Thompson, Lily Hope, and Ursala Hudson.[39]

Notable artists in the collection

[edit]

A number of well-known, critically acclaimed artists had works in the Renwick Gallery's collection; as of the November 2015 reopening most are no longer on display. Among them are:

  • Margaret Boozer's Eight Red Bowls Maryland terra cotta and pine sculpture.[40]
  • Wendell Castle's Ghost Clock cloaks time with trompe l'oeil.[3][4]
  • Dale Chihuly's famous glass globules float in their sandbox sanctuaries.[3]
  • Arline Fisch's silver Body Ornament[3]
  • Larry Fuente's Game Fish made from a mounted sailfish and game accessories, such as dice, poker chips, domino tiles, Scrabble letters, yo-yos, badminton shuttlecocks and Ping-Pong balls.[3][4]
  • Sam Maloof's furniture[3]
  • Maria Martinez
  • Albert Paley
  • Ginny Ruffner's Reforestation of the Imagination (with Grant Kirkpatrick), an augmented reality exhibition.[38]
  • Judith Schaechter's A Little Torcher, a stained-glass creation depicting pyromania.[41]
  • Kim Schmahmann's 1993–1999 Bureau of Bureaucracy, which is a "wooden cabinet full of cupboards to nowhere, bottomless drawers, drawers within drawers, hidden compartments, and more, a wonderful metaphor for the labyrinthine workings of government".[7]

See also

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References

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Renwick Gallery

View on Grokipedia
from Grokipedia
The Renwick Gallery is a branch museum of the in , dedicated to showcasing American craft and from the to the present day. Located at and 17th Street NW, steps from the , it occupies a building originally constructed in 1859 as the , the first purpose-built art museum in the United States. The gallery opened to the public on January 28, 1972, following its acquisition by the Smithsonian in 1965 and extensive renovations, and it remains a key venue for celebrating innovative and time-honored craftsmanship. Designed by architect in the Second Empire style—inspired by the in —the building features distinctive mansard roofs, pavilions, and double-height columns, with the inscription “Dedicated to Art” above its entrance. Originally intended to house the private collection of philanthropist William Wilson Corcoran, it served various governmental purposes after 1899, including as the U.S. Court of Claims, before facing demolition in the early ; Jacqueline Kennedy advocated for its preservation, leading to its transformation into a public museum. A major renovation from 2013 to 2015 restored its historic grandeur while modernizing spaces for contemporary exhibitions, reinforcing its role in establishing Washington as a cultural hub. Admission is free, and it operates daily from 10:00 a.m. to 5:30 p.m., except December 25, with accessible entry and facilities. The Renwick Gallery houses a collection of over 2,000 objects, considered one of the finest representations of American craft, emphasizing the Studio Craft movement and works by diverse contemporary makers. Its holdings include ceramics, glass, fiber, metalwork, and wood, spanning innovative designs that reflect American cultural history and artistic evolution. Notable exhibitions have highlighted themes like the Renwick's 50th anniversary in 2022, featuring reflections from curators and artists on its legacy, while ongoing displays such as Justin Favela: Capilla de Maíz (Maize Chapel) explore cultural narratives through craft. The gallery also includes a store offering items inspired by its collections, supporting public engagement with American artistry.

History

Origins and Construction

In 1858, financier and philanthropist William Wilson Corcoran commissioned the construction of a dedicated building to house his private art collection and open it to the public as the ' first purpose-built . Corcoran, a prominent Washington, D.C., banker who had amassed works through purchases and gifts, envisioned the gallery as a means to foster appreciation for American art and culture amid the growing nation's post-expansion era. Corcoran selected architect , known for designing the and St. Patrick's Cathedral, to lead the project. Construction began in 1859 at the northeast corner of 17th Street and NW, but progress halted with the onset of the Civil War in 1861, when the nearly completed exterior was seized by the Union Army and repurposed as a supply warehouse and headquarters for the . The building remained under federal control until 1869, after which renovations allowed it to finally open as the on January 19, 1874. Upon opening, the gallery displayed Corcoran's collection of approximately 100 works, primarily 19th-century American and European paintings and sculptures by artists such as and , marking a significant step in making fine arts accessible to the public. Situated just steps from the on , the venue played a pivotal role in 's post-Civil War cultural renaissance, establishing the city as a hub for artistic expression and education while symbolizing national reconciliation through shared cultural heritage. The Renwick Gallery building served as the original home of the from its public opening in 1874 until the institution's relocation in 1897, displaying the personal collection of philanthropist William Wilson Corcoran, which primarily featured American and European paintings, sculptures, and . on the building began in 1859, but the Civil War interrupted its intended use, leading to its requisition by the U.S. government in 1861 for storage of military supplies and quarters for officers. Corcoran regained possession in 1869, undertook renovations, and formally opened the gallery to the public on January 19, 1874, marking it as the first purpose-built in the United States dedicated to public exhibition. During this period, the gallery hosted regular displays that highlighted emerging American artists alongside European works, with an increasing focus on as Corcoran's collection expanded to include ceramics, textiles, and furnishings reflective of 19th-century tastes. By the late 1890s, the growing collection and visitor numbers outstripped the building's capacity, prompting the Corcoran Gallery to relocate its main operations in to a larger Beaux-Arts structure designed by at 17th Street and New York Avenue NW. The Renwick building was retained briefly for storage of select works and occasional temporary exhibitions, allowing the Corcoran to continue limited programming there until its sale to the federal government in 1901. Following the sale, the structure transitioned out of active gallery use under Corcoran management, though the institution maintained a historical association with the site through the early . In the , the building functioned primarily as the headquarters of the Court of Claims from 1901 to 1963, with government offices occupying the space and adapting interiors for judicial purposes, which included minimal alterations to preserve the original design. During and , it supported federal operations amid wartime demands, though no major art exhibitions occurred; instead, the structure housed administrative functions aligned with the court's role in claims related to military contracts and benefits. By the 1950s, the building had fallen into disrepair, its prominence as a cultural landmark diminished amid urban development pressures in . The mid-20th-century decline culminated in a 1962 congressional proposal to demolish the structure for a modern glass office tower as part of Lafayette Square redevelopment, sparking widespread preservation efforts. Jacqueline Kennedy championed its salvation, advocating for the building's retention within a redesigned through collaboration with architect and the National Capital Planning Commission, emphasizing its architectural significance and role in the city's heritage. Her intervention proved pivotal, leading to the building's designation as a on November 11, 1971, which ensured its protection and set the stage for future adaptive reuse while honoring its Corcoran legacy.

Smithsonian Acquisition and Early Years

In 1965, the acquired the historic Renwick building through an signed by President , transferring it from federal use as the U.S. Court of Claims headquarters—where it had served since the relocated to a larger facility in 1897—to the National Collection of Fine Arts (now the ) for renovation and operation as a dedicated . The structure, designed by and completed in 1859 as the nation's first purpose-built art museum, underwent a comprehensive four-year restoration from 1967 to 1971 to modernize its interiors while preserving its . It reopened to the public on January 28, 1972, as the Renwick Gallery, explicitly named for its architect and established as a branch museum emphasizing contemporary American crafts and amid the burgeoning Studio Craft movement. The gallery's early programming centered on elevating craft as fine art, inspired in part by the influential 1969 exhibition Objects: USA at the National Collection of Fine Arts, which toured internationally and highlighted modern American makers. Its inaugural show, Woodenworks: Furniture Objects by Five Contemporary Craftsmen, featured innovative wood-based designs by artists including Wendell Castle and Jere Osgood, running from the opening date through July 9, 1972, and drawing attention to functional yet sculptural objects. Subsequent exhibitions explored diverse media like glass, fiber, and ceramics, fostering public engagement with craft's artistic potential; by 1975, the Renwick shifted from a primarily exhibition-focused "kunsthalle" model to actively acquiring works, with its collection expanding to nearly 2,000 objects by the and solidifying its role in preserving American . Throughout the and , the Renwick navigated operational hurdles stemming from its compact footprint—offering just 17,000 square feet for displays—and federal budget limitations that constrained staffing and acquisitions within the broader Smithsonian system. These factors contributed to periodic temporary closures for essential minor repairs, such as addressing structural wear in the 19th-century building, even as the gallery built its reputation through targeted craft programming.

Renovation and Reopening

The Renwick Gallery closed to the public on December 9, 2013, initiating a comprehensive two-year renovation project aimed at modernizing the historic structure while preserving its architectural integrity. The $30 million initiative, funded through a 50-50 public-private partnership, addressed critical structural and infrastructural challenges, including the replacement of outdated heating, ventilation, and air conditioning (HVAC) systems, electrical and plumbing infrastructure, fire-suppression mechanisms, and enhancements to accessibility features such as elevators and entryways. Key private contributions included a $5.4 million gift from philanthropist David M. Rubenstein, which completed the fundraising effort. The gallery reopened on November 13, 2015, marking its revival as a dedicated space for contemporary craft and immersive art experiences within the . The debut featured the inaugural exhibition Wonder, an interactive showcase of site-specific installations by prominent artists, including Dale Chihuly's suspended sculptures and Nick Cave's vibrant sound suits, transforming the renovated galleries into a multisensory environment that drew immediate acclaim. Following the reopening, attendance surged, with the Renwick attracting nearly 850,000 visitors in 2018—more than double the previous year's figures—and contributing to the parent museum's total of 2 million visits in 2019, reflecting deeper integration with broader Smithsonian programs focused on American craft and . The gallery's momentum was interrupted by the , with closures beginning March 14, 2020, as a measure, followed by additional temporary shutdowns in late 2020. Phased reopenings resumed in 2021, including full access on with required timed-entry passes and safety protocols, allowing exhibitions like Forces of Nature: Renwick Invitational 2020 to continue. During closures, the Smithsonian emphasized digital engagement through virtual tours, online programs, and accessible resources, sustaining public connection to the Renwick's collections and fostering hybrid experiences that extended its reach beyond physical visits. In January 2024, the Renwick Gallery underwent another temporary closure from January 22 to February 27 for a pipe replacement project beneath the National Historic Landmark structure, after which it reopened to the public.

Architecture

Original Design and Style

The Renwick Gallery was designed in 1858 by architect James Renwick Jr., who drew inspiration from the new pavilions of the Louvre in Paris during its Second Empire renovations under Napoleon III. This influence manifested in the building's adoption of the Second Empire style, characterized by prominent mansard roofs, projecting pavilions, double columns, and ornamental iron railings that dramatized the roofline. Renwick, known for his work on the Smithsonian's Castle and St. Patrick's Cathedral in New York, tailored these French elements to American proportions, creating a structure that symbolized national cultural ambition while adapting to the site's urban context near the White House. The interior layout was conceived specifically for , featuring a grand central staircase that served as a dramatic focal point, leading to spacious galleries with high ceilings and airy halls designed to showcase paintings and sculptures. Decorative motifs, including quoined pilasters on the ground floor, carved stonework, and extravagant embellishments, enhanced the spaces' suitability for public viewing, with an emphasis on and grandeur to elevate the viewing experience. These elements reflected the era's aesthetic priorities, blending functionality with opulence to accommodate William W. Corcoran's collection. As the first purpose-built in the United States, the Renwick introduced innovative features prioritizing through its expansive window arrangements and open interior volumes, fostering public accessibility in a 34,000-square-foot footprint. Upon completion in 1874, it was hailed as "The American ," underscoring its role in promoting a distinctly national by emulating European sophistication while dedicating itself to American art.

Renovations and Preservation Efforts

In 1962, First Lady Jacqueline Kennedy spearheaded a preservation campaign that successfully prevented the demolition of the Renwick Gallery building, which had been proposed by in 1956 to make way for government offices, and contributed to its designation as a in 1971. Following the Smithsonian Institution's acquisition of the building in 1965 after its use as the U.S. Court of Claims, renovations from 1967 to 1972 transformed it into a dedicated space during the transition from the . These updates included adaptations for modern exhibition needs, such as the installation of climate control systems to protect artworks and the reconfiguration of interior spaces to create suitable display areas for contemporary crafts and . The renovated facility opened to the public on January 28, 1972, as the Renwick Gallery, a branch of the . A major overhaul from 2013 to 2015 addressed aging infrastructure while preserving the building's historic character, incorporating seismic reinforcements to repair and mitigate damage from the 2011 Virginia earthquake. The project also added ADA-compliant elevators with a new penthouse structure, restored the original cast-iron facade through repointing and repairs to masonry elements, and upgraded to energy-efficient systems, including high-performance windows and HVAC enhancements for better thermal and humidity control. Original features, such as the 19th-century mansard roof and concealed ceiling vaults, were carefully retained and revealed during the work, ensuring the balance between functionality and heritage. Ongoing preservation efforts in the 2020s emphasize maintenance of the renovated systems, with continued enhancements to features like barrier-free entrances and sensory guides for exhibitions, alongside vigilant monitoring of environmental factors such as fluctuations that could impact decorative and metal elements. These initiatives support the building's role as a sustainable venue, achieving a 50% reduction in energy use post-2015 while safeguarding its structural integrity for future generations.

Collections

Scope and Focus Areas

The Renwick Gallery has been dedicated to the exhibition and study of contemporary and historical American crafts since its opening as a Smithsonian branch in 1972, serving as the primary venue for the Smithsonian American Art Museum's renowned program in this field. The collection encompasses a diverse array of media, including ceramics, glass, fiber, metalwork, and , reflecting the breadth of American craft traditions and techniques. With nearly 2,000 objects drawn from the Smithsonian American Art Museum's holdings, the gallery maintains a focused repository that highlights the skill, creativity, and cultural significance of American makers across generations. The scope of the Renwick's collections has evolved from an emphasis on 19th-century decorative arts—rooted in functional and ornamental objects influenced by industrial and folk traditions—to 21st-century immersive installations that push the boundaries of materiality and form. This progression underscores key themes such as innovation in technique and material use, explorations of personal and , and the tactile qualities of as a medium for . Exhibitions and acquisitions often integrate these elements to demonstrate how has adapted to modern contexts, from everyday utility to addressing environmental and cultural issues. Acquisition policies at the Renwick prioritize works by underrepresented makers, including Native American, African American, Latinx, Asian American, Indigenous, and LGBTQ+ artists, to broaden the narrative of American craft beyond traditional Eurocentric perspectives. A pivotal example is the Renwick Gallery 50th Anniversary Acquisition Campaign launched in , which added over 200 objects to the permanent collection, significantly enhancing representation through donations and purchases of diverse contemporary works. Earlier efforts in the 1980s, such as strategic donations supporting , laid the groundwork for this inclusive approach, though recent initiatives have markedly expanded the focus on equity. The Renwick's curatorial mission integrates seamlessly with the broader Smithsonian Institution's resources, enabling interdisciplinary displays that draw from archival materials, scientific collections, and collaborative projects across museums. This synergy allows for exhibitions that contextualize within larger American cultural histories, such as regional traditions or technological advancements, while fostering and public engagement through shared Smithsonian expertise.

Notable Artists and Works

The Renwick Gallery's permanent collection features innovative glasswork by Dale Chihuly, a pioneering American artist born in 1941 who revolutionized studio glass through large-scale, site-specific installations inspired by organic forms and vibrant colors. His Seafoam and Amber-Tipped Chandelier (1994), a suspended assemblage of blown glass elements evoking marine life, was acquired by the Smithsonian American Art Museum in 2012 as a gift from Barbaralee Diamonstein-Spielvogel, highlighting Chihuly's mastery of light and transparency in craft. This piece, part of the ongoing Connections presentation at the Renwick, exemplifies his collaborative process with teams of artisans to create immersive, fluid sculptures that challenge traditional glass boundaries. Wendell Castle, an influential American sculptor and furniture designer (1932–2018) known for blurring the lines between functional objects and art through trompe l'oeil techniques, contributed Ghost Clock (1985) to the collection. Carved from a single block of bleached to mimic a sheet-draped , this approximately 7-foot-tall work was purchased in 1989 through the Collections Acquisition Program, serving as a meditation on time and illusion without any internal mechanism. The piece was featured in the Renwick's 25th anniversary exhibition in 1997, showcasing Castle's expertise in laminated wood construction and his surrealist approach to domestic forms. Mary Jackson, a Gullah-Geechee basket weaver born in 1948 in coastal , preserves and innovates African American sweetgrass traditions passed down through generations, often incorporating contemporary sculptural elements into her coiled forms. Her Low Basket with Handle (1999), woven from sweetgrass, pine needles, and palmetto, entered the permanent collection in 2001 as a gift from Marcia and Alan Docter, recognizing her role in elevating vernacular craft to . This piece reflects Jackson's experimentation with asymmetrical shapes and intricate stitching, drawing from her childhood training under her mother while adapting forms for modern display. Margaret Boozer, a -based ceramicist born in 1947 who sources local clays to connect with geological history, created Eight Red Bowls (2000) using terra cotta excavated from her backyard and mounted on pine. Inspired by Chinese archaeological photographs of burial vessels, this installation was purchased in 2001 through the Richard T. Evans Fund, emphasizing Boozer's exploration of clay's materiality and . The work's raw, unfired surfaces and embedded soil layers underscore her philosophy of ceramics as a dialogue between earth and artist. Toshiko Takaezu (1922–2011), a Japanese American ceramicist who immigrated to the U.S. in 1937 and fused Zen aesthetics with Abstract Expressionist influences, produced closed-form vessels that prioritize form and texture over utility. Her Untitled (ca. 1980s), a glazed porcelain ovoid evoking an egg's contemplative interior, was acquired in 2006 as a gift from the artist, joining other works that highlight Takaezu's shift from functional pottery to monumental sculpture during her tenure at Princeton University. This piece captures her emphasis on the vessel's unseen space as a metaphor for introspection. Steven Young Lee, a Korean American ceramicist born in 1975 who deconstructs traditions by combining East Asian motifs with Western pop culture and imperfection, features in the collection with Vase with and Dinosaurs (2014). This hand-built and wheel-thrown vessel, depicting a fractured blue-and-white invaded by dinosaurs, was acquired in 2016 through gifts from Richard Fryklund, Giselle and Ben Huberman, David and Clemmer Montague, and museum purchase through the Howard Kottler Endowment for Ceramic Art, following its debut in the Renwick Invitational exhibition, illustrating Lee's ironic critique of cultural hybridity and technical precision. Trained at the , Lee's work employs deliberate breakage and repair to challenge 's fragility.

Exhibitions

Permanent Installations

The Renwick Gallery's permanent installations feature selections from the Smithsonian American Art Museum's collection of American and , showcasing works from the to the present across media such as clay, , , metal, and wood. These displays are organized in themed galleries that highlight the evolution of , its role in addressing societal issues like interconnectivity and , and the innovative use of materials. Highlights include arts like Lenore Tawney's Box of Falling Stars (1964) and metalworks that illustrate material innovation, with periodic updates through new acquisitions to reflect contemporary developments in the field. These elements educate visitors on the historical and conceptual progression of , emphasizing its humanistic and adaptive qualities in American culture. In the Rubenstein Grand Salon, site-specific installations provide immersive, long-term experiences that complement the collection's focus on craft traditions. A notable example is Justin Favela's Capilla de Maíz (Maize Chapel) (2025–ongoing), which transforms the space with shimmering gold-fringed walls and 30-foot corncobs crafted from techniques, drawing on architectural influences to explore maize's symbolism as "yellow gold" in North American Indigenous, agricultural, and cultural histories. This work underscores themes of identity and sustenance, inviting interaction through its vibrant, accessible scale. Collection highlights are integrated throughout the themed galleries, such as those dedicated to fiber arts and metals, where visitors can engage with audio guides providing artist insights and contextual narratives to enhance understanding and . Hands-on elements, including tactile opportunities in select displays, further support educational goals by allowing exploration of craft techniques and their evolution.

Temporary and Rotating Shows

The Renwick Gallery's temporary and rotating exhibitions have played a pivotal role in revitalizing its programming since reopening, emphasizing immersive, contemporary and art that engage diverse themes and audiences. The inaugural exhibition, "WONDER," launched on November 13, 2015, and ran through July 10, 2016, transforming the gallery's spaces with large-scale installations by nine contemporary artists using unexpected materials to evoke awe and wonder. This multi-artist show featured over 20 immersive elements across multiple rooms, including Tara Donovan's undulating plastic cup sculptures and Jennifer Angus's insect-adorned wallpapers, drawing more than 730,000 visitors during its run and significantly boosting the gallery's profile through virality. The exhibition's success nearly doubled annual attendance compared to pre-renovation figures, underscoring the appeal of site-specific, experiential in attracting broad . In recent years, the gallery has continued its dynamic rotation with shows addressing and cultural narratives, often through collaborative curatorial efforts. "Sharing Honors and Burdens: Renwick Invitational 2023," on view from May 26, 2023, to March 31, 2024, highlighted works by six Native American and Alaska Native artists exploring the intertwined honors and burdens of Indigenous experiences, using media like , , and ceramics to address themes of resilience, sovereignty, and . Organized by guest Lara M. Jafrani, the exhibition incorporated international loans and emphasized inclusivity by centering underrepresented voices in American traditions, contributing to the Renwick's overall attendance of approximately 281,000 visitors in 2023 as part of broader Smithsonian trends. This focus on reflects a curatorial shift toward diverse perspectives, with similar metrics showing sustained visitor engagement across rotating shows. Looking ahead, the Renwick's 2025-2026 schedule promises continued exploration of American cultural roots and global influences through temporary installations. "State Fairs: Growing American Craft," on view from August 22, 2025, to September 7, 2026, surveys unconventional crafts from 19th-century state fairs to the present, featuring prize-winning quilts, carvings, and sculptures that celebrate creativity and regional traditions. These exhibitions exemplify ongoing curatorial trends toward inclusivity, with frequent guest curators and loans from global institutions, fostering visitor impacts such as the 1.5 million combined visits to the and Renwick in 2024, driven by thematic depth and accessibility.

References

  1. https://www.si.edu/about/american-art-museum
  2. https://americanart.si.edu/about/history/renwick-architecture
  3. https://americanart.si.edu/visit/renwick
  4. https://americanart.si.edu/press/2022/04/smithsonian-american-art-museum-acquires-more-200-artworks-its-craft-collection
  5. https://americanart.si.edu/videos/about-renwick-164910
  6. https://www.philanthropyroundtable.org/almanac/corcoran-gallery-of-art/
  7. https://americanart.si.edu/blog/eye-level/2011/06/794/defense-decoration-renwick-gallery-civil-war
  8. https://www.nga.gov/artworks/corcoran-collection-national-gallery-art
  9. https://siarchives.si.edu/collections/siris_sic_14439
  10. https://corcoran.gwu.edu/history
  11. https://historicsites.dcpreservation.org/items/show/503
  12. https://savingplaces.org/stories/the-renwick-renewed-inside-the-gallerys-renovation
  13. https://savingplaces.org/stories/transitions-restored-renwick-gallery
  14. https://www.si.edu/museums/renwick-gallery
  15. https://www.si.edu/newsdesk/releases/renwick-gallery-reopening-announced-smithsonian-american-art-museum
  16. https://siarchives.si.edu/collections/siris_arc_381060
  17. https://www.si.edu/newsdesk/releases/smithsonian-american-art-museum-announces-major-renovation-its-renwick-gallery
  18. https://www.si.edu/newsdesk/releases/smithsonian-american-art-museum-receives-54-million-david-m-rubenstein-renwick-gallery-reno
  19. https://www.si.edu/newsdesk/releases/consigli-selected-renwick-gallery-renovation
  20. https://www.si.edu/newsdesk/releases/renwick-gallery-opens-nov-13-after-major-renovation-its-national-historic-landmark-building
  21. https://americanart.si.edu/exhibitions/wonder
  22. https://americanart.si.edu/press/2019/24/nora-atkinson-named-curator-charge-smithsonian-american-art-museums-renwick-gallery
  23. https://www.si.edu/newsdesk/about/stats
  24. https://americanart.si.edu/press/2021/23/saam-reopening-may-14
  25. https://www.si.edu/newsdesk/releases/smithsonian-american-art-museum-presents-series-virtual-programs-part-2021
  26. https://www.si.edu/newsdesk/releases/smithsonian-american-art-museums-renwick-gallery-will-close-temporarily-pipe-replacement-project
  27. https://www.brikbase.org/content/renwick-gallery-smithsonian-american-art-museum-whole-building-design-guide-case-study
  28. https://www.hpbmagazine.org/the-renwick-gallery-of-the-smithsonian-american-art-museum-washington-d-c/
  29. https://www.welchandrushe.com/portfolio-item/smithsonian_renwick/
  30. https://www.ncpc.gov/files/Renwick_Gallery_Renovation_American_Art_Museum_Submission_Materials_7518_Sep2013.pdf
  31. https://www.architectmagazine.com/project-gallery/the-renwick-gallery-of-the-smithsonian-art-museum_o/
  32. https://americanart.si.edu/visit/accessibility
  33. https://americanart.si.edu/exhibitions/this-present-moment
  34. https://jracraft.org/renwick-gallery-support.html
  35. https://americanart.si.edu/exhibitions/connections
  36. https://americanart.si.edu/artwork/seafoam-and-amber-tipped-chandelier-84729
  37. https://americanart.si.edu/artist/dale-chihuly-859
  38. https://americanart.si.edu/artwork/ghost-clock-31977
  39. https://www.si.edu/object/ghost-clock%253Asaam_1989.68
  40. https://americanart.si.edu/artwork/low-basket-handle-68052
  41. https://americanart.si.edu/artist/mary-jackson-27690
  42. https://americanart.si.edu/artwork/eight-red-bowls-58176
  43. https://americanart.si.edu/blog/eye-level/2006/15/1298/clays-thing
  44. https://americanart.si.edu/artwork/untitled-76357
  45. https://americanart.si.edu/artist/toshiko-takaezu-4734
  46. https://americanart.si.edu/artwork/vase-landscape-and-dinosaurs-109624
  47. https://americanart.si.edu/artist/steven-young-lee-30848
  48. https://americanart.si.edu/collections/object-group/american-craft-4823
  49. https://www.si.edu/newsdesk/releases/reinstallation-permanent-collection-renwick-gallery-explores-american-craft-21st-century
  50. https://americanart.si.edu/exhibitions/favela-maize-chapel
  51. https://americanart.si.edu/visit/tours/audio-guides
  52. https://americanart.si.edu/press/2017/05/smithsonian-american-art-museum-releases-renwick-gallery-wonder-360-virtual-reality
  53. https://americanart.si.edu/blog/no-spectators-art-of-burning-man-to-travel
  54. https://americanart.si.edu/exhibitions/invitational-2023
  55. https://americanart.si.edu/exhibitions/state-fairs
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