Posted in January 2010

At the Newseum: Russert, Tiger and Haiti

I’ve been glued to CNN’s Haiti coverage in recent days but forced myself to take a break and hit a couple of new-ish exhibits at the Newseum this weekend. I don’t often visit–at $20 a pop, it’s the most expensive museum ticket in town–but two installations, Inside Tim Russert’s Office: If It’s Sunday, It’s Meet the Press, and Athlete: The Sports Illustrated Photography of Walter Iooss, turned out to be worth my once-a-year tour of the place.

Though I think NBC went overboard in its non-stop memorializing of Tim Russert when he died in June 2008, the Newseum’s recreation of the newsman’s office is a poignant remembrance of a guy who lived and breathed politics. Of special interest: the white board on which Russert wrote “Florida ! Florida ! Florida !” during the Bush-Gore election debacle; the baseballs he kept in his desk awaiting the next Meet the Press guest’s signature; and Russert’s reading glasses, strewn on a pile of papers just as left them the day he collapsed at his office, a sad reminder that he was struck down in his prime.

Walter Iooss’s photographs are also recommended, sports fan or not. There are shots of the greats–Michael Jordan, Arnold Palmer, Mohammed Ali–but the most compelling images are of kids, enjoying sport for fun. I especially loved the shot of a group of kids playing stickball on a street corner in Cuba– it nicely conveys the joy and freedom of childhood summers– and one of several Brazilian boys bracing for a direct kick in a soccer game. You can feel their fear.

Interestingly, Iooss notes he had a hard time shooting Tiger Woods, who is shown stepping up to the tee, and was scolded by Woods’ caddy for overstepping his bounds.

“Getting close to Tiger is a problem,” Iooss writes.

Right. In more ways than one.

The Newseum is good for a few moments of irony at least, but I couldn’t escape the news of the day.

On my way out, I stopped at the museum’s Pulitzer Prize Photographs Gallery (one of my favorites) and stumbled on a 2008 photo of a mud-caked Haitian boy pushing a stroller through debris left by Tropical Storm Hanna.

The Miami Herald photographer who snapped it said he wondered if Haiti would recover from the series of storms and hurricanes that hit that year. “It made you ask, Why?,” he writes next to the photo.

No answer forthcoming.

Inside Tim Russert’s Office runs through December 31, 2010; Athlete runs through January 16, 2011.

Photo: Patrick Farrell, The Miami Herald

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Elvis and Bubba, Kindred Spirits

All Hail the King.

The 75th anniversary of Elvis’s birth got a lot of media play this week. Even my best friend, an attorney whom you wouldn’t necessarily peg as an Elvis fan, posted a Facebook update recalling her post-college graduation pilgrimage to Graceland.

Curiously, what she remembers most is Elvis’s 15-foot-sofa and how sick she was of his music after playing it non-stop during the 14-hour drive from DC. Oh, to be 22 again and hit the open road.

A shorter Elvis pilgrimage can be had via DC’s Metro this year: the National Portrait Gallery has two Elvis exhibits in the offing, one just launched this week. Echoes of Elvis includes a dozen portraits of the performer by American artists, including the original artwork for the 1993 U.S. postage stamp commemorating Elvis (pictured).

I was sort of underwhelmed by the exhibit– it’s one room and not all that meaty–but did enjoy the painting of Elvis in a long, pink Cadillac, seemingly on a never-ending road trip, palm trees and pyramids scrolling behind him.

I’m more interested in Elvis at 21, a photography retrospective of Elvis in 1956, on the brink of pop stardom. From what I can tell, the show, now on at the Grammy Museum in Los Angeles but opening at the National Portrait Gallery October 30, captures the electricity of Elvis’s early performances with a bit of Robert Frank’s The Americans thrown in for good measure.

Meantime, check out the gallery’s second floor America’s Presidents exhibit, where you’ll find a newly acquired portrait of number-one Elvis fan Bill Clinton, rendered by genius painter Chuck Close. Based on a cover photo taken for New York magazine, it’s one of the coolest portraits in the building and shows Close’s technique at its best.

What does it say about Clinton? The word “compartmentalization” comes to mind.

Echoes of Elvis is on at the National Portrait Gallery through August 29, 2010.

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Herb & Dorothy: Netflix Pick for Art Lovers

I just finished watching the quirky documentary, Herb & Dorothy, about a Manhattan couple of modest means who amassed one of the greatest collections of modern art in the country, then donated it all to the National Gallery of Art because they wanted to “give back to the American people.” Amazing story.

The now-retired Herb and Dorothy Vogel, who once paid the rent as a postal clerk and public librarian, began buying modern art in the 60s from little-known but talented artists, for $50 and $100 a pop. They had discerning taste, invested in the right artists, and eventually became part of New York’s art scene themselves, establishing friendships with Christo and Chuck Close, among others.

By the 90s, the Vogels’ collection had grown so large that the couple was virtually boxed in to their small one-bedroom apartment. Once they struck a deal with the National Gallery, it took five full-sized moving vans to truck the collection to Washington.

It’s hard to miss the Vogels’ names on many of the modern pieces in the National Gallery’s East Wing. I never knew their story, but on my next trip to the gallery it will be hard not to envision these pieces in their previous incarnation: hanging in an overstuffed apartment amid cats, fish tanks, stacks of books, and a middle-class couple who, quite simply, lived for art.

Herb & Dorothy is available on Netflix, as well as in the National Gallery of Art gift shop, lower level.

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