Wassily Kandinsky and Frank Stella @ The Phillips Collection
Sound and silence interact in The Phillips Collection's installation of works by two modern masters who are separated by time and place, but whose works resonate with each other.The Philips Collection continues its anniversary celebration 90 Years of New with complementary exhibits of works by Russian master Wassily Kandinsky and American artist Frank Stella.
Stella Sounds: The Scarlatti K Series is a body of recent sculptural work that is a logical and literal extension of the striped abstractions -- inspired by Barnett Newman's zips and Jasper Johns' targets -- that first brought Frank Stella to fame. Kandinsky died in 1944, but this recent work from Stella demonstrates the Russian's influence on contemporary art. The interaction between these two artists is more specific: Stella has written frequently about Kandinsky and in fact contributes cell phone tour audio for works in the Kandinsky galleries. The Scarlatti K sculptures, which the artist began working on in 2006, intrude into the gallery space -- watch that you don't snag your tote bag on the inviting armatures. Inspired by the music of Italian Baroque composer Domenico Scarlatti, the curved lines, as well as the varied hues present in painted sculptures like K.43 (lattice variation) protogen RPT (full-size) and other dynamic pieces are served well by the Phillips' beautifully lit third-floor galleries. Most of their time will be spent bathed in the glow from a skylight, but the inevitable summer storms that will pass overhead should give them an aura of delicate sea monsters, trapped in their own netting.
The genesis of Kandinsky and the Harmony of Silence: Painting with White Border The central work in this exhibit comes at a time in 1913 when Kandinsky had moved away from representation, but had not yet completely immersed himself in abstraction. The artist became increasingly enchanted with how objects would lose focus and "dissolve" in twilight, and this shapes -- and unshapes -- his treatment of certain key motifs. Representational works from just a few years before depicted immediately recognizable figures of the troika (a carriage drawn by three horses) and Saint George, an icon of the Russian Orthodox Church who, as legend has it, slew a dragon. A close look at Painting with White Border , the Metropolitain Museum of Art's survey of European paintings that feature windows in the composition. This Romantic device is used either to frame a landscape within a larger frame, or to study the effect of natural light cast inside a room -- the latter of which may be a clue to the "dissolving" objects within Kandinsky's borders, which frame Saints and horse-drawn carriages in a hazy light.
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Sound and silence interact in The Phillips Collection's installation of works by two modern masters who are separated by time and place, but whose works resonate with each other. The Philips Collection continues its anniversary celebration 90 Years of
Yet their power is astounding; little music of any era packs such kinetic energy and emotional turbulence into so few notes, as Steven Silverman showed during a short but engaging all-Scarlatti recital at the Phillips Collection on Thursday evening.
In the home fashion realm, look for an orchard of fruit motifs, including glossy red and green apple decorative artworks from Phillips Collection; a strawberry, onion bulb, bugs and hibiscus upholstery print on furniture from CR Laine; a porcelain lamp

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Material Crescendo: Frank Stella at The Phillips Collection « New ...
New American Paintings is a juried exhibition-in-print. Working with experienced curators, we review the work of thousands of emerging artists every year. Forty artists are selected to appear in each bi-monthly edition, and many go on to receive substantial critical and commercial success. Additional content focuses on the medium of painting, those who influence painting’s direction, and the role painting plays within the art world. The idea is that contemporary abstraction like Stella’s has its theoretical roots in Kandinski’s trailblazing work, and despite the artists’ differences — just about 100 years worth of differences — there’s a visual dialogue that results from the pairing. Also evident is the merging of painterly and sculptural space, as Stella’s objects, mostly hanging on the walls like paintings, offer steel armatures that appear to function like the gestural brush strokes in Kandinski’s work.
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Exhibiting modern art masterworks in the former home of Duncan Phillips.
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