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Smithsonian American Art Museum staff install Albert Paley’s Portal Gates at the museum’s Renwick Gallery. Photo by Gene Young.

The Renwick Gallery’s famed Portal Gates by master sculptor and blacksmith Albert Paley are once again back home, reinstalled last week on the second floor in a custom-made alcove, after going on exhibit at Iowa State University. The gates have been a much-loved staple at the gallery since their installation in 1976, when they met with critical acclaim and praise from the press. The Washington Post called them “one of the most important iron and brass works of art since Louis Sullivan.”

In fact, a work by Louis Sullivan figures in the story of how the gates came to be commissioned by the museum. When the newly renovated Renwick Gallery opened in 1972,  two elevator grills designed by Louis Sullivan for the Stock Exchange in Chicago were lent to the gallery by another Smithsonian museum,  the National Museum of American History, and installed in an alcove adjacent to the museum’s store. But according to the Renwick’s then-director Lloyd Herman, American History officials had second thoughts about the loan once they saw how beautiful the work was at the Renwick. So, “they asked for them back for installation there,” Herman explained in a letter to a visitor in 1982.

After losing the Sullivan elevator grills, the Renwick decided to commission the creation of new artwork from contemporary artists and invited several metalsmiths, including Paley, to submit designs. Paley, an art professor at the University of Rochester in New York and internationally reknowned for his one-of-a-kind jewelry pieces, won the $4,800 commission. His detailed drawings, Herman wrote in the same letter, made a “stunning addition to this fine old building.”

Paley and his assistant, Richard Palmer, spent 3,800 hours and seven months creating the 1,200-pound gates. (For the re-installation, museum staff had to use a crank to lift and position them.) Their scale had an overwhelming effect on the young jeweler.  “I felt rather like Gulliver,” he told the Washington Post.  “It didn’t seem as though the objects I was working on changed in scale but instead it was as if I had suddenly shrunk to Lilliputian size.”

Paley was born in Philadelphia in 1944 and grew up in a middle-class family. He decided against attending college, and instead worked as a salesman in a department store until someone suggested he attend the Tyler School of Art at Temple University. “I got a scholarship,” he told the Post.  “And I realized that art was who I was.” He worked primarily as a jeweler until attending a three-day blacksmith’s workshop at Southern Illinois University in 1970. Today, Paley holds an endowed chair at the Rochester Institute of Technology and continues to work in his studio there.

See more photos from the installation on the Smithsonian American Art Museum’s Facebook page.

Still Life with Pumpkin, Book and Sweet Potato (ca. 1855) by an anonymous photographer. Image courtesy of the American Art Museum.

Monday, October 19: A Stitch in Time: Block-by-Block Quilting Series

Ideal for persons aged 8 and older, this workshop will introduce you to the basics of quilting. That’s right, you too can gain the skill set required to make a piece suitable to keep you warm or to hang on the wall as a part of your eye-catching home decor. In this session, learn how to design and sew quilt squares together—and how to jazz up your work with appliqué designs. Cosponsored with the Daughters of Dorcas and Sons quilting organization. Sewing skills are not required. Free, but reservations are required. Call 202-633-4844 to reserve your spot and materials today. This series continues on selected Mondays: Nov. 16, Feb. 8, March 15, April 19, May 17, June 21. Anacostia Museum, 10:00 AM-12:00 PM

Tuesday, October 20: Gallery Talk with Joann Moser

In school, you learn your alphabet and how to read sentences just fine, but no one really takes the time to teach you how to read images. (And if you’re toddling around an art museum, the latter is a helpful skill to have.) Come on out to the American Art Museum and enjoy a tour of the exhibit What’s It All Mean: William T. Wiley in Retrospect led by senior curator Joann Moser, who will help you understand the symbols and allusions the artist uses in his work. Free. American Art Museum, 6:00 PM

Wednesday, October 21: The Problem of Frames

When you need to frame a piece of artwork for your home, it’s easy to take it to the nearest craft store or order the pieces you need online. What you get is rarely anything too fancy, so it’s easy to forget that frame making is an art unto itself and that there was a time when the frame used to house a painting was a presentation piece and part of the overall aesthetic experience. (Some of you may be familiar with the recent story of how the Metropolitan Museum of art is re-creating the elaborate frame that set off the iconic Washington Crossing the Delaware.) Come enjoy a tour led by American Art Museum frames conservator Martin Kotler who will discuss the art, craft and history of American frame making, as well as the challenges that museums face when it comes to framing pieces. You won’t be able to look at these home “accents” in the same way again. Free, Renwick Gallery, 12:00 PM

Thursday, October 22: Faces of the Frontier – Domingo Ghirardelli: Face-to-Face Portrait Talk

Who can take a sunrise, sprinkle it in dew, cover it in chocolate and a miracle or two? Answer: Domingo Ghirardelli. (Yeah, yeah, the word “candyman” is a little more rhythmic. So sue me.) You may not know Domingo, but you’re more likely to be familiar with the chocolate that bears his surname. Setting up shop in San Francisco in 1852, his wares have been sating the American sweet tooth for generations. With Halloween on the horizon, there’s no better time to come on out to the Portrait Gallery and learn more about the man behind the candy than tonight, which features a gallery talk led by curator of photographs Ann Shumard. Free. Portrait Gallery, 6:00-6:30 PM

Friday, October 23: Boo at the Zoo

Perfect for persons ages two to 12, Boo at the Zoo provides families with a safe, fun and educational way to celebrate the Halloween holiday. Dress up and step on out to haunt the National Zoo where there will be 40 treat stations featuring an assortment of candy and snacks in addition to animal encounters and keeper talks. Tickets are required. Rates are: $15 for members, $25 for nonmembers, free admission for children under two. Tickets may be purchased online or at the Zoo’s Visitor Center. National Zoo, 5:30 PM-8:30 PM.

For more information on events and exhibitions at the Smithsonian museums, check our companion website, goSmithsonian.com, the official visitor’s guide to the Smithsonian.

Olga Buraya-Kefelian demonstrates to two newbie knitters how to "cast on" so they can begin knitting. The pair saw signs outside the museum and decided to join the session. Photo by Abby Callard.

Yesterday morning, just after 11 AM the steady clinking of knitting needles could be heard from the interactive gallery in the Renwick’s Craft Invitiational 2009 exhibit. Every first and third Tuesday from 11 to 1 PM, and second and fourth Sunday from 1 to 3 PM, knitters of all levels gather here to learn or continue their own projects.

Olga Buraya-Kefelian, 28, a professional knitwear designer, is teaching the first half of the sessions. Her colleague from Knit Happens in Alexandria, V.A., is teaching the second half. Olga began knitting at the age of four and crocheting at age seven. She grew up in Eastern Europe where “everyone was doing it because of the need.”

To start, Olga fixes some kinks in a work created exclusively for the interactive space envisioned by Mark Newport, one of the artists in the Craft Invitational. “The piece started as a Y,” Katie Crooks, who manages the program says. “But the piece really took on a life of its own.” Different colors and patterns, including a tricky lace pattern, mesh together on the massive project. Someone even added anatomical parts. “It’s a boy,” Crooks jokes.

When I admitted to never having knitted, Olga insisted I learn. I grabbed a ball of purple yarn, two large needles and a set of instructions and sat down. To start, one must “cast on” which involves making a simple, or not so simple in my case, slip knot. When I sheepishly confessed to not knowing what that was or how to make one, Olga knew she had found a true neophyte.

Look mom, I made something. It could be a coaster, a really tiny blanket or just a decoration for my cubicle walls. Photo by Abby Callard

Once everyone settled in, Crooks sat in a rocking chair gently rocking back and forth and worked on a tan and green afghan—a wedding present for friends of hers. Olga pulled out her current project which uses two kinds of extravagant yarn: a soft silk and a silk wrapped stainless steel no thicker than angel hair spaghetti. Yoko Oshio came to the first installment of Sit ‘n’ Knit two weeks ago. She was so hooked that the next day she visited the store where Olga works in Alexandria to buy her own yarn and needles. Currently, she’s working on a scarf for herself, and when she finishes, she’s making one for her husband.

At the beginning, a handful of knitters, including me and one other novice, sat quietly, the clanking of the needles the only noise. As noon rolled around, more knitters stopped by, and by the time I was ready to “bind off,” or finish my little project, I could barely hear Olga’s directions over the chatter. It might not be pretty, but my swatch shows that I know how to cast on, knit, purl and bind off. For now, I’ll consider that a success.

In this piece, artist Christyl Boger pairs an inflatable pool toy with the nude figure of a woman. The woman hides behind pink paint and her seahorse toy, which suggests that she feels exposed rather than empowered by her nakedness. Photo by Gene Young

Every two years, the Smithsonian American Art Museum’s Renwick Gallery reevaluates where contemporary craft is headed. This year, curator Nicholas Bell noticed the emerging trend of incorporating narrative into craft. All four artists chosen for the “2009 Renwick Craft Invitational,” which opens Friday, create stories with their work.

“I think it will change what anyone thinks about studio crafts,” says Bell. “I think there’s often a very traditional feeling of craft as small, functional items. What we do at the invitational is to reevaluate where craft is going.”

The pieces in the exhibit are far from knitted scarves and ceramic cups. Each artist elevates a certain niche of craft to another level while constructing stories.

Christyl Boger, who teaches at the Henry Radford Hope School of Fine Arts at Indiana University, sculpts traditional baroque ceramic figures with a twist. Each figure holds an inflatable pool toy, such as water wings or a toy seahorse. Many of the figures have fingers or toes that are dipped in gold luster.

Mark Newport knits superhero costumes that are accompanied by drawings of the artist and others wearing the costumes. Newport occasionally knits in public while wearing his costumes—a video in the exhibit shows him doing just that. Some of the works are on a larger-than-life scale. One piece, “Every-Any-No-Man” is big enough to fit a 12-foot tall man. Newport is artist-in-residence at the Cranbrook Academy of Art in Bloomfield Hills, Michigan.

SunKoo Yuh’s Korean heritage inspires his work. His drawings, done on traditional Korean paper, are influenced by social and political critique. Many of the characters in his sculptures are acquaintances. His piece “Memory of Pikesville, TN” features people he met in that town. Yuh is a professor of ceramics at the University of Georgia in Athens.

Boger incorporates inflatable toys into her ceramic figures. The traditional baroque style juxtaposed with the modern toys creates an inherit interest in the story of the figure. In this piece, the male wears water wings generally used for young children in swimming pools. Photo by Gene Young

Mary Van Cline uses photosensitive glass to print black and white photographs of landscapes and people. Her piece “The Listening Point” incorporates sculpture with large glass leaves, a wooden ladder that can be seen through the transparent photograph and black glass that reflects the image. Van Cline has taught classes at Pilchuck Glass School, Penland School of Crafts and the Rhode Island School of Design.

This year, a new feature was added to the show. After discovering they had an extra room, museum staff called each artist to ask if they would contribute a piece to the exhibition for an interactive gallery. Visitors can touch the inside of a Boger ceramic bust, discover the texture of Yuh’s unique glazing technique that results in a Pollock-esque finish and explore the illusions created by printing a photograph on a thick piece of glass.

“When you’re going through an exhibit that’s so visceral and tactile, you want to touch it,” says Bell. Now visitors can.

Newport, Bell says, has been particularly helpful and agreed to start a piece for the gallery. Visitors to the exhibit are free to add to the project. They even set up rocking chairs. “Who knows what it’s going to look like when it’s finished” Bell jokes.

Federal WPA Variety Theater Presents Vaudeville (ca. 1936). Image courtesy of the Library of Congress.

Friday, June 5: 2-Day Family Festival: Start with the Arts

To celebrate the recently-opened exhibition, Jean Shin: Common Threads, enjoy a performance by Bash the Trash, learn how to make musical instruments from found objects and decorate environmentally friendly tote bags. The festival continues on Saturday with performances by The Dancing Wheels Company and Little Theater of the Deaf. Free. American Art Museum, 11:30 AM-5:30 PM

Saturday, June 6: Legends of Vaudeville

The Art and Craft of Greene & Greene is coming down to make way for the grand reopening of the Renwick Gallery’s Grand Salon. To mark the occasion, come enjoy a performance by musical comedy troupe Legends of Vaudeville. What’s vaudeville you ask? Before the advent of television, it was the all-American variety show that featured a wide array of talents. (It was the vaudeville stage that spawned iconic talents such as Bob Hope, Al Jolson and the Marx Brothers, to name a few.) Free. Renwick Gallery, 3:00 PM. This event repeats Sunday, June 7 at the same time and venue.

Sunday, June 7: Book Signing: The House at the End of the Road: The Story of Three Generations of an Interracial Family in the American South.

W. Ralph Eubanks, director of publishing at the Library of Congress, explores issues of race and identity in American culture in his new book The House at the End of the Road. The story covers three generations of his family, beginning with his grandparents—an interracial couple living in early 20th century Alabama. Theirs was an illegal marriage, and yet, they were able to live together and raise a family in spite of the racist Jim Crow laws that governed the American South. Eubanks will be available to sign copies of his book—which is available in the gift shops—outside the 2nd floor museum store. (You can also hear Eubanks’ reflections on writing this book here on YouTube.) Free. American History Museum, 1:00-3:00 PM.

To plan your visit or learn more about events and exhibitions at the Smithsonian, go to our companion site, goSmithsonian.com.

A disco ball in action. Image courtesy of Flickr user marfis75.

Friday, April 3: Discotheque Underground

Why sit in your room all day listening to ABBA songs when you can come to the Ripley Center and be the dancing queen? That’s right. Disco is at the Smithsonian. Afraid? Petrified? Don’t be, because the DJs Jay Style and Evaa Pearl are on deck spinning tunes that will have you up, shaking your groove thing. If you love the nightlife, you’ve got to come here—and groove with the disco underground. Must be 18 years old or older to attend. There will be an open bar and light hors d’oeuvres. Tickets Required. Rates are $30 for general public; $25 for members. Gold lamé and spangles are optional, but encouraged. Call 202-633-3030 to reserve your spot on the dance floor today. (Because, let’s face it, you should be dancing.) Ripley Center, 9:00 PM

Saturday, April 4: Jazz Appreciation Month: Family Day

Introduce the little ones in your family to the joys of jazz with this afternoon program provided by the American Art Museum. Come listen to storyteller Judith Gravitz spin her musical tales in addition to a concert performance by the Baltimore Jazz Alliance. Learn about the wide variety of musical instruments that come into play with jazz music and enjoy a spread of craft activities. Free. American Art Museum, 1-4:00 PM

Sunday, April 5: The Art of Greene and Greene

Nol Putnam—an ironwork specialist whose work can be seen at the Washington National Cathedral—will talk about his art as well as the craftsmanship of Charles and Henry Greene whose architectural works epitomized the Arts and Crafts Movement. Free. Renwick Gallery, 3:00 PM

Two Violinists (1938-39) by David Park

Friday, January 30: A Scattering of Pearls: Architecture of the Gold Road and the Mali-Spain Diaspora

After completing a pilgrimage to Mecca in 1324, Mansa Musa, emperor of Mali, returned with architect Al-Saheli. With Mansa’s support, Al-Saheli constructed palaces and mosques—notably the Djingareyber Mosque which was constructed entirely of organic materials in 1327 and still stands—transforming Timbuktu into a renowned center of Islamic study. Historian Suzanne Preston Bier will offer her insights on this business relationship that resulted in stunning works of sub-Saharan architecture. Free. African Art Museum, 12 Noon.

Saturday, January 31: Lincoln’s 2nd Inaugural Ball

Show of hands: how many of you out there didn’t have enough disposable income to attend one of those high-falootin’ inaugural balls here in DC? Uh huh, thought so. However, Abraham Lincoln’s opulent second inaugural ball is being dutifully recreated for you by the Victorian Dance Ensemble at the National Portrait Gallery. Free. National Portrait Gallery, 12:00 PM, 2:00 PM, 4:00 PM.

Sunday, February 1: Axlerod Quartet

The Axlerod Quartet—Marc Destrubé and Marilyn McDonald (violins), James Dunham (viola) and Kenneth Slowik (violoncello)—has a string of lovely tunes to play for you this evening at the Renwick Gallery’s Grand Salon. The evening’s musical program is: Mozart’s Quartet in B-flat Major; Mendelssohn’s Quartet in F Minor, Op. 80; and Beethoven’s Quartet in E-flat Major, Op. 74 (“The Harp”). Tickets are required. Rates are: $31 general admission; $25 Resident Associate Program Members; $21 senior Resident Associate Members. Tickets may be purchased online here. Renwick Gallery, 7:30 PM.*

*There will be a pre-concert lecture by Smithsonian Chamber Music Society director Kenneth Slowik beginning at 6:30 PM.

Light Bulb Teapot, Variation #6 (1984) by Richard Notkin

Friday, January 23: Iranian Film Festival: Head Wind

A documentary that examines the Islamic Republic and how it tries to control the inflow of information from the outside world. Will the age of DVDs and the Internet overwhelm traditional modes of living? In Persian with English subtitles. Free, but due to high demand, assigned seating is in effect for this series. Up to two free tickets will be distributed one hour prior to show time. Repeats January 25. Freer, 7 PM.

Saturday, January 24: Stamp Collecting Workshop

The nice thing about stamp collecting is that it’s one of the most cost-effective—and aesthetically pleasing—hobbies you can have. Philately (that’s the five-dollar word for “stamp collecting”) experts from the Postal Museum are here to teach you everything you need to know about starting your own collection. For beginning and intermediate collectors ages 10 and up. Free, but registration is required. To reserve your spot, call 202-633-5533 or email NPMprograms@si.edu. National Postal Museum, 10:30 AM-Noon.

Sunday, January 25: JRA Distinguished Lecture: Art and War

What object sums up tranquil domesticity better than the teapot? Tea time is typically a means for us to catch up with old friends or to wish someone a very merry un-birthday. Artist Richard Notkin, however, transforms this icon of kitchens across the globe into a vessel of biting social commentary. This master ceramist (who studied under Robert Arneson, whose works are also available for viewing at the Smithsonian American Art Museum) will speak about his four decades spent exploring clay as an editorial and artistic medium. Free. Renwick Gallery, 3 PM.