The term self-conscious takes on a whole new meaning in today’s social media era . . . Immerse yourself in the ultimate collection of selfies by America’s leading artists: from 1901 through 2015 . . .
Pictured above — Self-Portrait with Rita, by Thomas Hart Benton. Oil on canvas (c. 1924). National Portrait Gallery, Smithsonian Institution. Gift of Mr. and Mrs. Jack H. Mooney.
At a time when millions of selfies are posted every day and identity becomes more fluid, this impressive collection of self-portraits is spectacular. From every decade of the 20th and 21st centuries (1901 to 2015), by America’s leading artists.
Greetings on behalf of this amazing new show from the Smithsonian National Portrait Gallery, kicking off its national tour on March 24 in South Florida.
Eye to I: Self Portraits from the National Portrait Gallery
Kicks off National Tour in South Florida at the Boca Raton Museum of Art (March 24 – June 14)
The term self-conscious takes on a whole new meaning in today’s social media era. At a time when millions of selfies are posted every day and identity is proving to be more fluid, this exhibition from the Smithsonian’s National Portrait Galleryshines a new light on self-portraiture and representation.
The show was created to commemorate the National Portrait Gallery’s 50th anniversary, celebrating the artists who make the NPG Collection so extraordinary.
Eye to I brings together the work of major artists of the 20th and 21st centuries, and kicks off its national tour at the Boca Raton Museum of Art with an indelible gallery experience sure to fascinate contemporary audiences. The powerful works are from every decade, starting in 1901 and continuing through 2015.
Elaine de Kooning Self-Portrait. Oil on Masonite (1946). National Portrait Gallery, Smithsonian Institution
Immerse Yourself in the Ultimate Collection of “Selfies” by America’s Leading Artists: from 1901 through 2015
The premiere in South Florida of this traveling exhibition is different from the Smithsonian show that was previously on view in Washington, DC – all of the works on paper are new and were chosen especially for the national tour, as are several of the paintings.
“These artists looked inward in ways we can connect with in our modern time. They created a lasting mirror effect for future audiences that most of them could not have foreseen,” said Irvin Lippman, the executive director of the Boca RatonMuseum of Art.
Mirror, Mirror; Mulatta Seeking Inner Negress II by Alison Saar. Woodcut on chine-collé (2015). National Portrait Gallery, Smithsonian Institution
“These artists steered self-portraiture away from the traditional poses of the past into new realms of self-reflection. Their self-depictions cut across time through multiple pathways of creating art that ring true today,” adds Irvin Lippman.
Self-portraits by prominent figures in the history of portraiture include: Robert Arneson, Thomas Hart Benton, Deborah Kass, Elaine de Kooning, Alexander Calder, Jasper Johns, Allan Kaprow, Jacob Lawrence, Louise Nevelson, Irving Penn, Robert Rauschenberg, Fritz Scholder, and Roger Shimomura.
Early works include: Edward Steichen, Edward Hopper, and composer George Gershwin, who was also a painter.
More recent works include: Ana Mendieta, Chuck Close, Lois Dodd, Maria Magdalena Campos-Pons and Alison Saar.
Lee Simonson Self-Portrait. Oil on canvas (c. 1912). National Portrait Gallery, Smithsonian Institution. Gift of Karl and Jody Simonson; Frame conserved with funds from the Smithsonian Women’s Committee
The show was organized by the Chief Curator of the National Portrait Gallery at the Smithsonian, Dr. Brandon Brame Fortune.
She has been invited to South Florida by the Boca Raton Museum of Art to present a special preview lecture on March 24, at 5:30 p.m. Space is limited – RSVP required in advance. Tickets for non-members are $35; free for members.
Eye to I showcases 60 works in a variety of styles and media ranging from caricatures to photographs, from colorful watercolors to dramatic paintings and time-based media.
The exhibition traces the process, from gazing into the mirror to looking into the camera; from painted and drawn surfaces to mechanical reproductions such as prints and photographs; from static forms to video.
Chosen as the cover for the exhibition catalogue, Maria Magdalena Campos-Pons used her own body to map out feelings of translocation from place to place. The bilingual title is in half-Spanish and means When I am not Here, I am There.
She stands with her eyes closed, as though transported between territories while holding on to her Afro-Caribbean talismans.
She stands with her eyes closed, as though transported between territories while holding on to her Afro-Caribbean talismans.
Self-Portrait with Rita, by Thomas Hart Benton. Oil on canvas (c. 1924). National Portrait Gallery, Smithsonian Institution. Gift of Mr. and Mrs. Jack H. Mooney
In 1975, Alice Neel began her shocking, endearing, and utterly unconventional self-portrait that took her five years to complete.
She foreshadowed by decades the use of “this is the real me” selfies to challenge gender and body-image stereotypes. Neel took on the history of male artists depicting nude women and flipped it around completely, with absolute control of her image.
An unflinching challenge to the centuries-old convention of idealized femininity, Neel’s self-portrait is openly accepting of her aging body.
The first thing visitors will see at the Boca Raton Museum of Art is Roger Shimomura’s monumental work, Shimomura Crossing the Delaware. The mammoth painting takes up the entire entry wall.
During World War II, Shimomura and his family were imprisoned at an internment camp, where they became familiar with the widespread xenophobia taking place at that time during the 1940’s.
In the painting, Shimomura cast himself as George Washington and replaced the Revolutionary soldiers with Samurai warriors, while a silhouette of the original painting by Emanuel Leutze haunts the background.
James A. Porter founded the field of African American art history. He chaired Howard University’s Art Department and directed the university’s art gallery from 1953 until his death in 1970.
He studied in France, Cuba, and Haiti and traveled in West Africa, Egypt, and Brazil. These trips abroad impacted his work, including his self- portrait which conveys the influence of Parisian artists.
James Amos Porter Self-Portrait. Oil on canvas (1957). National Portrait Gallery, Smithsonian Institution. Gift of Dorothy Porter Wesley
“These individuals have approached self-portraiture at various points in history and using different tools, but their representations ─ especially when seen together ─ all raise important questions about self-perception and self-reflection,” said Brandon Brame Fortune, chief curator, Smithsonian’s National Portrait Gallery.
“Some artists reveal intimate details of their inner lives through self-portraiture, while others use the genre to obfuscate their private selves or invent alter egos.”
Dr. Brandon Brame Fortune.
The Chief Curator of the National Portrait Gallery, Dr. Brandon Brame Fortune, has been invited to South Florida for a special appearance on March 24 at 5:30, at the Boca Raton Museum of Art. Space is limited – RSVP required in advance. Tickets are $35 (free for members of the Museum).
Eye to I: Self-Portraits from the National Portrait Gallery features a richly illustrated companion volume with an introduction by Brandon Brame Fortune and nearly 150 insightful entries on key self-portraits in the museum’s collection.
The book was published by the National Portrait Gallery in association with Hirmer Publishers, and is distributed by the University of Chicago Press.
Lois Dodd Self-Portrait. Oil on Masonite (1989). National Portrait Gallery, Smithsonian Institution. Gift of Rebecca Mitchell and Ben Harris.
n Exaltation of Flowers: Petunia, Caladium, Budleya, by Edward Jean Steichen Tempera and gold leaf on canvas(c. 1910-1913).
The seven large Art Nouveau panels – ten feet tall each – were painted by Steichen from 1911- 1914 for the Park Avenue townhouse of Eugene Meyer and his wife Agnes but were never installed. After a number of owners, including the Museum of Modern Art, they ended up in the collection of Art Bridges.
The murals are inspired in part by Maurice Maeterlinck’s book, The Intelligence of Flowers, and depict Isadora Duncan, Mercedes de Cordoba, Katharine Rhoades, Marion Beckett and others, along with their floral counterparts.
Celebrating our 70th anniversary in 2020, the Boca Raton Museum of Art encompasses a creative campus that includes the Museum in Mizner Park, Art School, and an Artists Guild. As the “Official Art Museum of the City of Boca Raton,” the Museum has provided seven decades of cultural and artistic service to the community, and to many visitors from around the world. Visit www.bocamuseum.org for more information. For media inquiries, please contact Jose Lima and William Spring, editorial@newstravelsfast.com, 305-910-7762.
ABOUT THE NATIONAL PORTRAIT GALLERY
The Smithsonian’s National Portrait Gallery tells the multifaceted story of the United States through the individuals who have shaped American culture. Spanning the visual arts, performing arts and new media, the Portrait Gallery portrays poets and presidents, visionaries and villains, actors and activists, whose lives tell the American story.
The National Portrait Gallery is part of the Donald W. Reynolds Center for American Art and Portraiture at Eighth and F Streets NW, Washington, DC. Smithsonian information: (202) 633-1000. Connect with the museum at npg.si.edu, Facebook, Instagram, Twitter, and YouTube.
