WONDER at the Renwick Gallery

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After being closed for two years the Renwick Gallery, part of the Smithsonian American Art Museum, reopens with the WONDER exhibition. The WONDER exhibit brings nine major contemporary artists together featuring exhibits using different textiles, materials, and even insects. Each exhibit is colossal, with most taking up an entire room from wall to wall making you wonder how each piece came about. See the exhibit below but make sure to see for yourself if you are in Washington, DC.

Janet Echelman – 1.8, 2015

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“Echelman’s woven sculpture corresponds to a map of the energy released across the Pacific Ocean during the Tohoku earthquake and tsunami, one of the most devastating natural disasters in record history. The event was so powerful it shifted the earth on its axis and shortened the day, March 11, 2011, by 1.8 millionths of a second, lending this work its title. Waves taller than the 100-foot length of this gallery ravaged the east coast of Japan, reminding us that what is wondrous can equally be dangerous.”

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John Grade – Middle Fork (Cascades), 2015

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“To commemorate the Renwick’s reopening, Grade selected a hemlock tree in the Cascade Mountains east of Seattle that is approximately 150 years old – the same age as the building. His team created a full plaster cast of the tree (without harming it), then used the cast as a mold to build a new tree out of a half-million segments of reclaimed cedar. Hundreds of volunteers assisted Grade, hand carving each piece to match the contours of the original tree. After the exhibition closes, Middle Fork (Cascades) will be carried back to the hemlock’s location and left on the forest floor, where it will gradually return to the earth. Grade’s second tree, Middle Fork (Arctic), is on view downstairs in the Palm Court.”

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Maya Lin – Folding the Chesapeake, 2015

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“Growing up in Ohio in the 1960s, Lin watched her father participate in the fledging studio glass movement then gathering steam in nearby Toledo. The marbles used in this installation are the same industrial fiberglass product Henry Huan Lin and other glass-blowing pioneers experimented with then, which were soon abandoned by artist as technical knowledge matured. Folding the Chesapeake marks their first use by Maya Lin and a new chapter in her decades-long investigation of natural wonders. By shaping rivers, fields, canyons, and mountains within the museum, Lin shifts our attention to their outdoor counterparts, sharpening our focus on the need for their conservation.”

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Jennifer Angus – In the Midnight Garden, 2015

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“Angus’s genius is the embrace of what is wholly natural, if unexpected. Yes, the insects are real, and no, she has not altered them except to position their wings and legs. The species in this gallery are not endangered, but in fact are quite abundant, primarily in Malaysia, Thailand, and Papua New Guinea, a corner of the world where Nature seems to play with  greater freedom. The pink wash is derived from the cochineal insect living on cacti in Mexico, where it has long been prized as the best source of the color red. By altering the context in which we encounter such species, Angus startles us into recognition of what has always been a part of our world.”

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Patrick Dougherty – Shindig, 2015

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“Dougherty has crisscrossed the world weaving sticks into marvelous architectures. Each structure is unique, an improvised response to its surroundings, as reliant on the materials at hand as the artist’s wishes: the branches tell him which way they want to bend. This give and take lends vitality to Dougherty’s work, so that walls and spires are a record of gestures and wills. Finding the right sticks remains a constant challenge, and part of the adventure of the art-making sends him scouring over the forgotten corners of land where plants grow wild and full of possibility.”

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Gabriel Dawe – Plexus A1, 2015

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“Dawe’s architecturally scaled weavings are often mistaken for fleeting rays of light. It is an appropriate trick of the eye, as the artist was inspired to use thread in this fashion by memories of the skies above Mexico City and East Texas, his childhood and current homes, respectively. The material and vivid colors also recall the embroideries everywhere in production during Dawe’s upbringing.”

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Tara Donovan – Untitled, 2014

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“Employing mundane materials such as toothpicks, straws, Styrofoam cups, scotch tape, and index cards, Donovan gathers up the things we think we know, transforming the familiar into the unrecognizable through overwhelming accumulation. The resulting enigmatic landscapes force us to wonder just what it is we are looking at and how to respond. The mystery, and the potential for any material in her hands to capture it, prompts us to pay better attention to our surroundings, permitting the everyday to catch us up again.”

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Chakaia Booker – ANONYMOUS DONOR, 2015

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“Booker was inspired to explore tires as a material while walking the streets of New York in the 1980s, when retreads and melted pools of rubber from car fires littered the urban landscape. By massing, slashing, and reworking a material we see daily yet never fully consider, she jolts us out of complacency to grasp these materials for what they are: a natural resource marshaled through astonishingly complex channels into a product of great convenience and superabundance.”

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