Artists at Work 2017

Ostrea 2 (part of a series of 3), 2015. An Almquist, Volunteer, National Museum of Natural History.
“While volunteering as an Insect Ambassador at the National Museum of Natural History, I’ve been inspired by arthropods and mollusks in particular. Oysters and the ocean were my inspiration when I sculpted and carved the designs into my thrown pots. Additionally, I crafted custom iridescent glazes to use during the second firing and melted sea glass to mimic the natural colors found in nature.”

Untitled, 2016. Catherine Anchin, development officer, National Museum of African Art.

“Olemeeli with child,” 2015. Kelsey Arrington-Ashford, Photographic Services Assistant, National Museum of African Art.

Detail from “These Clothes Have Done Their Duty,” 2016. Diana Baird N’Diaye, Curator/Cultural Specialist, Center for Folklife and Cultural Heritage.

Secretary David Skorton and Diana Baird N’Diaye with her work, “These Clothes Have Done Their Duty.”
“My work as a Folklife curator and cultural heritage specialist is a source of constant inspiration and opportunities for learning as an artist. During more than two decades working on the Folklife Festival and with my colleagues at several other Smithsonian units and museums, I’ve had the privilege of engaging with master artists and thinkers whose work and whose expressive traditions I’ve admired and studied. “
(Photo by Michael Barnes)

Animal Composite with Shells. Marcia Bakry, Scientific Illustrator, National Museum of Natural History

Marcia Bakry with “Animal Composite with Shells.”
(Photo by Michael Barnes)

“Beaker’s Tribute to Prince,” 2016. Jennifer Block, Direct Marketing and Circulation Manager, Smithsonian Enterprises.
“What could be better than working for an Institution that houses many of Jim Henson’s beloved Muppets? Jennifer, a painter for 7 years, draws inspiration from pop culture, traveling and her experiences living in Washington DC.”

“Roman Aqueduct Provence, France,” 2014. Salvatore Bosco, volunteer, National Museum of Natural History.
“This is a pen and ink rendering in stipple of a Roman Aqueduct at Pont Du Gard, France. The drawing was based on a photo taken by the artist, Sal Bosco, who is currently a behind the scenes volunteer in paleobotany at NMNH.”

Salvatore Bosco with “Roman Aqueduct Provence, France.”
“This is a pen and ink rendering in stipple of a Roman Aqueduct at Pont Du Gard, France. The drawing was based on a photo taken by the artist, Sal Bosco, who is currently a behind the scenes volunteer in paleobotany at NMNH.”
(Photo by Michael Barnes)

Totally Scraps, 2015. Leslie P. Boss, volunteer, Smithsonian Associates

“Liberty in Three Phases,” 2016. Steven Buccellato, Office of Protection Services, NMAI-NY.
“I have been an artist all my life.  I have always felt a need to create art.  It’s been a form of therapy for my soul. Sometimes I wonder if it’s some sort of divine inspiration. Art, for me, is a necessity not a choice; it’s like breathing. I must do it.I work. So I can make art. So I can pay my bills; so I can make art. In the museum I’m surrounded by magnificent architecture and Native American artifacts that are awe-inspiring; filled with both history and beauty – everyday. So, I feel that, if I can’t find inspiration here; within the walls of the Smithsonian Institution.Really, should I be able to call myself an artist at all? Thank you and enjoy.”

“Released,” 2015. Criis Geer Chagnon, Museum Specialist, MSC Collections Support Services.

“Portrait of the Anthropocene,” 2016. Charles Chen, Experimental Technologist/ Exhibition Developer, National Museum of Natural History.

Charles Chen with “Portrait of the Anthropocene.”
“Waiting at a bus stop in Queens, New York City, I noticed a typical dirt and brick sidewalk emplacement meant to house trees planted by the city. Except there was no tree there. Instead, what would have held a tree was filled in with all manner of discarded trash. At that moment, it occurred to me that this square-framed mixed-media collage was an allegorical portrait of our age of the Anthropocene. Natural forests of trees have been replaced by small designated spots for trees amongst a forest of concrete, glass, and steel, and those, in turn, have been overwhelmed by the physical markers of both fleeting human cravings and our insatiable desire for consumption and disposal, be it capital, food, information, or intoxicants.”
(Photo by Michael Barnes)

“She is Michelle,” 2016. Diane Dale, Volunteer, Anacostia Community Museum.

Dianne Dale with “She is Michelle.”
“Dianne Dale uses the traditional copper foil technique to fashion her designs. She does one-of-a-kind work, blending shapes and colors to produce portraits in glass. No pattern is used when creating the designs, and the size of each design is not predetermined. Each design is unique, with its own personality, built piece by piece.”
(Photo by Michael Barnes)

“Spring I,” 2016. Laura Damerville, Assistant General Counsel, Office of the General Counsel.

Laura Damerville with “Spring I.”
“When not practicing law or raising my children, I try to find time to draw or paint. My work is heavily influenced by silk painting traditions, which I studied for a number of years growing up in Hawaii. Spring I is part of a series that I am working on inspired by the Japanese card game, Hanafuda. Hanafuda cards feature stylized depictions of flora and fauna that reflect the changing seasons.”
(Photo by Michael Barnes)

Ocelot (Felis pardalis), 1997. Karolyn Darrow, Museum Specialist, National Museum of Natural History.

“Swimming with Stingrays,” 2010. Megan Dattoria, 3D Digitization Specialist, Office of the Chief Information Officer.
“This necklace tells the simple story of a family vacation memory I have, swimming with stingrays in the Caribbean. The exterior is made of copper and brass: the stingray side was hand repoussed and textured with a hammer, while the other side shows the silhouette of a woman standing in water with a silver stingray immersed in blue resin behind her.”

Antarctica, 2016. Michelle DeCesare, Management Support Specialist, Office of Facilities Management and Reliability.

Michelle DeCesare with “Antarctica.”
(Photo by Michael Barnes)

Sit and Wonder Café, Brooklyn, NY, 2016. Jennifer Davis, Exhibition Technician, Cooper Hewitt, Smithsonian Design Museum.

“Chrysalis,” 2013. Enrique Dominguez, Exhibit Fabrication Specialist, Smithsonian Exhibits.

“Escape the Dark City,” 2016. Robert Douglas, Contractor, Office of Protection Services, NMAI-NY.

Robert Douglas and his son with “Escape the Dark City.”

“Yellow Scream,” 2015. Doug Dunlop, Metadata Librarian, Smithsonian Institution Libraries.

“Napoleon and Josephine,” 2016. Annie Farrar, Registrar, Outgoing Loans, Hirshhorn Museum and Sculpture Garden.

“Anthony Laughing as Usual,” 2014. Haili Francis, Advancement Associate, Smithsonian Institution Traveling Exhibition Service

Leaf-Boat, 2015. Jeremiah Gallay, Exhibition Designer, Freer and Sackler Galleries.
“I have been building boats since 1995—some organic in form, others conventional. This latest project, “Leaf-Boat,” began with a leaf I picked up in Haupt Garden. I took photos and made drawings of the leaf, then modified the drawings so the craft would perform better in the water. I scaled up the drawings to full size and began building. The process took 4 1/2 years. It is designed to carry one of my daughters and me. It works great.”

“Veteran,” 2014, Nichole Gantt, Office of Protection Services, D.W. Reynolds Center.

“Dual Mask 2,” 2016. Michelle Herman, Digital Experience Manager, Archives of American Art.

“Diaspora,” 2015. Lynn Goldstein, Volunteer, D.W. Reynolds Center.
“‘Diaspora’ was made to explore the idea of Jewish immigration to the US. The books within the trunk are by the Yiddish author Sholom Aleichem. Sholom Aleichem was a prominent author who wrote the stories that inspired ‘Fiddler on the Roof.’ Aspen trees were painted on the spines of the books.because aspens are connected by their vast root systems.  The trunk lid bears photographs of immigrants, including the artist’s family members. The trunk and suitcases symbolize the travel to what was hoped would be a better life for themselves and their families upon arriving to the United States.”

“Light Weaver,” still image from film, 2015-2016. John S. Goff, Museum Specialist, National Museum of African American History and Culture

“Juan Munoz knows,” 2015. Colleen Garibaldi, Volunteer Information Specialist, Hirshhorn Museum and Sculpture Garden.
“The Hirshhorn has been instrumental in my engagement with contemporary art, introducing me to a broad variety of artists and art forms. One work in particular has captivated me, Juan Munoz’s Last Conversation that sits out front, and for years I have studied it through sketching, painting and photographing it as well as talking about the work to visitors and fellow artists. It is an honor to sit nearby every Saturday during my shift, giving back to the institution and work that has given me so much.”

“Mississippi Pine Needles,” 2016. Linda Hollenberg, Collections Collaborator, National Museum of Natural History

“Mad,” 2016. Michael Patrick Holt, Floor Supervisor, National Museum of Natural History.
“I had an old collection of magazines from my teen years that I decided to use for explorations into collage. The horror of cutting things apart that had moved with me everywhere from the 1980’s onward was quickly apparent. Did I like everything in the pages? No. Did I need any of it? No. But somehow there was an identity in these pages. Was I willing to sacrifice these old friends for piecemeal parts? Maybe. However, why not keep the object and reveal the parts that held my affection instead?”

“Blau,” 2015. Robyn Johnson-Ross, A/V Contractor, DW Reynolds Center.

“Attacking the Lighthouse,” 2016. Edward Keller, Contractor, National Museum of Natural History.
“I do embellished art. I find thrift store paintings or paintings at yard sales and auctions and I paint something in to it. I sign my works +Keller because I am adding to the artist’s work. Before I became a contractor I volunteered in Invertebrate Zoology which is where you would find octopi and giant squid.”

“Three dimensional character,” Sarah King, Entomology volunteer, National Museum of Natural History.
“When trying to make a 3D dimensional model of a microscopic insect using photogrammetry; the stacks of images were inverted by the limitations of the computers systems inability to convert stacked images and human error collecting accurate data points. Though technology can advance us we must also acknowledge skewed thinking that may accompany these advances to overcome our limitations and continue our quest in problem solving.”

Sarah King with “Three dimensional character.”
“When trying to make a 3D dimensional model of a microscopic insect using photogrammetry; the stacks of images were inverted by the limitations of the computers systems inability to convert stacked images and human error collecting accurate data points. Though technology can advance us we must also acknowledge skewed thinking that may accompany these advances to overcome our limitations and continue our quest in problem solving.”
(Photo by Michael Barnes)

“Henry in Baby Dress,” 2016. Liza Kirwin, Deputy Director, Archives of American Art.
“This is a painting of our Jack Russell Terrier Henry, who passed away last year. It is painted from a photograph taken in about 2005. My daughter Izzy is holding him. She put him in a dress that I wore as a baby and that she also wore as a baby. He was a good sport. He was always with me. I loved making this painting because it’s Henry and it gave me time to see him again and think about him.”

“The SE Market,” 2016. Martin Kotler, Frame Conservator, Smithsonian American Art Museum.

“Hirshhorn Diptych,” 2016. Walter Larrimore, Photographer, National Museum of Natural History.
“Combined two very similar but different views of the curves of the Hirshhorn and transform them into a new image, with new shapes, twists and motion.”

“Ned’s bar,” 2014. Hope Lindsay, Information Specialist, National Museum of Africa Art.
“I began painting five years ago when I became a Visual Art Teacher in the District of Columbia Public Schools. I taught a unit on Pablo Picasso and fell in love with his abstract portraits and thought to myself, “I can do this!” The faces of the subjects in my painting “NED’S BAR” are representative of Picasso’s abstract cubism portrait style. I love the Smithsonian Museums and I volunteer to be surrounded by art!”

“Letter / Carta,” 2012. Gabriela Lujan, Technician Contractor, Smithsonian Institution Archives.

Gabriela Lujan stands next to a display case containing her work, “Letter/Carta.”
“Visually, SIA archives from the mid 19th century sparks such a contrast from how we do thing today. What is fascinating is that contrast. What is inspiring is that difference. I have handled archive letters with handsome watermarks and written in an old style script that were a reminder of letters my mother wrote. Only she used an old script typewriter that made uneven impressions, but somehow left behind lots of character and grace. These two small multimedia paintings are a response inspired by her very last letter. In the background is a screen printed image of that letter.”
(Photo by Michael Barnes)

“Anacostia River Wakes,” 2015. Hilary Mason, Contract researcher, Anacostia Community Museum.
“As a native Washingtonian, I am constantly snapping photos on my phone, trying to capture glimpses of continuity in my rapidly changing hometown. I recently came on board at the Anacostia Community Museum, where I am conducting research for an upcoming exhibit examining neighborhood change in D.C. Working through the Community Documentation Initiative at the Anacostia Community Museum uniquely fuses my background in human geography with my passion for this city.”

1890’s Damaged Photograph and its Restoration, 2004. Finnegan Marsh, Museum Specialist, National Museum of Natural History.

Finnegan Marsh with 1890’s Damaged Photograph and its Restoration.
“I restore old photographs to preserve history rather to revise history. In this age of Photoshop the latter is all too common. Yet I don’t view historical photographs as sacred objects whereby, as in the opinion of some, any digital changes made render the photograph ‘inauthentic’ and unhistorical. Clearly there’s a tension that exists when confronting the physical photograph versus the content contained therein.”
(Photo by Michael Barnes)

“Suyu, Seoul,” 2016. Ashley Meadows, Gallery Guide Coordinator, Hirshhorn Museum and Sculpture Garden.
“I spent four months in Seoul in early 2016 as the FabLab Fellow for the US Embassy teaching art and technology workshop, utilizing skills and knowledge from my experience working with ARTLAB+ at the Hirshhorn. I worked largely in teaching digital media creation on mobile devices. This drawing, created entirely on my phone, is from a series completed while in Seoul, where enthusiasm spilled from professional practice into my personal practice.”

Decorative jewelry box, 2009. Merril J. Mille, volunteer, National Museum of Natural History.

Athyrium niponicum, 2015. Elizabeth R. Miller, volunteer photographer, Smithsonian Gardens.

“The Empress and The Emperor,” 2015. Paula Shreve Millet, Visual Information Specialist/ Exhibition Designer, Smithsonian Institutiotn Exhibits.
“These illustrations are my original versions of traditional Tarot cards. I create them in Adobe Photoshop by combining and manipulating elements from public domain images. My work as an exhibit designer has allowed me to appreciate the art history of many cultures and the precise beauty of natural history illustrations.”

Kata Tjuta, 2016. Evi Oehler, Architect / Program Manager, Smithsonian Facilities

Untitled, 2013. Michael Pahn, Head Archivist, National Museum of the American Indian.

“DNA,” 2012. Renalda Peldunas-Hart, Docent, Hall of Human Origins, National Museum of Natural History.
“Did you know that 25 April is officially “DNA Day”? When asked to design and construct a quilt to celebrate a favorite day, being the science nerd that I am (and proud of it!) I chose to celebrate DNA. I designed and constructed this quilt for Shannon Shirley’s Book “Celebrate the Day”, the quilt just came off of a 3-year tour around the United States.”

“The Tinker (Broken Toaster),” 2016. Joshua R. Pinkas, IT Specialist, Office of the Chief Information Officer

“Moon In Eclipse Over Chinde Mesa,” 2015. Michelle Pinsdorf, Museum Specialist, National Museum of Natural History.
“A paleontological collecting expedition to the Petrified Forest National Park allowed our crew to witness the total eclipse of a full ‘supermoon’. As the moon rose from behind the distant Chinde Mesa, eclipse already having begun, its shades of pink matched the mesa’s exposed strata. The combination of geological and astrological phenomena made for an unforgettable experience.”

“Who am I, Where do I come from,” 2016. Carol Porter, Program Volunteer, National Museum of African American History and Culture.
“As an artist and graphic designer, my motivation to paint a series of watercolors that express my heritage as an African American. This painting uses symbols, textiles and patterns from many tribes within in Africa. Since slaves were rounded up from many locations, I have no idea which tribes from which I descend. But I know the designs are striking and powerful. The painting I have submitted for exhibition, illustrates the mixture of colors, patterns. In the lower right circle, I placed my eye. I am always looking and thinking about my background. I know it is rich. I feel it. I love it!”

Self portrait, 2016. Larissa Raddell, Exhibit Specialist, Hirshhorn Museum and Sculpture Garden.
“The primary rule in museums is “Do Not Touch.” In my work I like play with this rule by making objects that tempt the viewer with their tactility. The interplay of textures, hard and soft, delicate and sturdy, engage the viewer psychologically and potentially physically.”

Design for wall paper, 2002. Patsy-Ann Rasmussen, Registrar, Traveling Exhibition Service.

Patsy-Ann Rasmussen with her design for wallpaper.
“Strolling through Smithsonian Gardens is an exhilarating experience for one who adores nature and appreciates beautiful and unusual flowers and plants. Each time I walk through the gardens, I pay specific attention to the shapes and color combinations I see before me. I am amazed at what I see. Sometimes I take photographs and do quick sketches. The gardens are a wonderful resource to explore each season!”
(Photo by Michael Barnes)

“Broccosaurus,” 2015. Nicolas Raymond, Volunteer, National Museum of Natural History.
“Macro photo of Romanesco broccoli cropped in such a way that reminds me of a horned dinosaur head, perhaps with an alien twist. Motivated to photograph this vegetable for its beautiful fractal pattern, I would also like to think I draw inspiration from the type of work I do at the National Museum of Natural History. More technical in nature as I capture various sides of mollusk shells and assemble them into image plates, yet a constant reminder to pay closer attention to details.”

DC.15’-FL.15’, 2016. Renee Regan, Contract photographer, National Museum of Natural History

“Forest Landscape,” 2016. Beth Richwine, Senior Objects Conservator, National Museum of American History.

“Homage to Picasso,” 2016. Danny Robbins, Exhibit Specialist, National Museum of American History.

Self portrait, 2015. Ramon Salinas, IT Specialist/ Desktop Support Contractor, Cooper Hewitt, Smithsonian Design Museum.

Ramon Salinas with his self-portrait.
“This painting is a representation of my passion for art. In my art, I strive to capture the principles of science behind the light and shadow; expressing metaphysical experiences adapting reality and mixing modern art onto 2D and 3D Dimensional space. My employments at the Smithsonian have compelled me to seek further inspiration from artworks by legendary Artists.”
(Photo by Michael Barnes)

“Louise with Mortgage Paperwork,” 2016. Mary Savig, Curator of Manuscripts, Archives of American Art.

Mary Savig with “Louise with Mortgage Paperwork.”
“I love spiders because they are the weavers of nature. At my job at the Smithsonian, I really enjoy working with feminist artists and textile artists, especially feminist textile artists. This spider was living in my house for a few weeks. I often saw her dart across the floor and I admired her hustle. I named her Louise after sculptor Louise Bourgeois. Recently, I captured her and let her go outdoors. I hope she enjoys her new environment.”
(Photo by Michael Barnes)

Primary Colors, 2016. Wayne Schiffelbein, Volunteer Docent, National Air and Space Museum.

Untitled, 2015. Robert Shaw, Contractor, Smithsonian Facilities. “A tonalist approach to explore the effects of light and atmosphere in the landscape.”

Dandelion 12, 2005. Lorene Steinberg, Volunteer, National Museum of Natural History. “This is one of a series of dandelions I’ve painted, inspired by the Smithsonian’s collection of botanical specimens and the beauty of line and tenacity of spirit of this common, uncommonly beautiful, weed.” (Photo by Michael Barnes)

“Green Man,” 2014. Joan Stogis, Event Representative, Smithsonian Associates.
“I am a ‘medieval maniac’ and volunteer for all programs addressing the Middle Ages. This Green Man was inspired by a 13th Century carving in the cathedral at Dijon, France. It is a pre-Christian symbol of vegetative force which speaks to me – and to many others – through the ages.”

Exhibition, 2015. Michael Sypulski, Intermittent Exhibition Worker, Cooper Hewitt, Smithsonian Design Museum.

Places You’ll Pray, 2015 – 2016. Sana Ullah, Video Intern, Office of Facilities Management and Reliability.

Sana Ullah with “Places You’ll Pray.”
“Having interned with the Smithsonian this summer and continuing another internship in the fall, I have come across people of all cultures and faiths allowing me to engage in educated conversations about identity. This has encouraged me to continue pursuing my visual thesis project, Places You’ll Pray, which consists of images of young American Muslims praying in locations outside of a designated prayer area and/or a mosque.”
(Photo by Michael Barnes)

“Food in Hair,” 2015. Mengyang Wang, Gallery Guide, Hirshhorn Museum and Sculpture Garden.
“In this piece, I played with materials such as paper and hair. And also I used the image of food and combined it with real hair. The juxtaposition of food and hair creates a weird feeling which interests me a lot.”

…a new tenderness, 2016. Matthew R. Weaver, Exhibition Maker, Cooper Hewitt, Smithsonian Design Museum

“Spiral galaxy,” 2016. Melissa Weiss, Science Illustrator, NASA’s Chandra X-ray Observatory.
“As a science illustrator for NASA, I create images that are literal interpretations of astronomical theories produced by some of our brightest scientific minds. In the past 20 years, I’ve crafted intricate views of stars being sucked into black holes, and quasars at the center of an elliptical galaxy. My celestial vistas have always been designed to be clear depictions that intentionally leave little to the imagination. Until now. I have stepped away from the literal to provide an abstract view into the cosmos. On loan from the collection of Heather and Fred Erwin.”

“Anomaly,” 2008. Libby A. Weiler, Program Assistant, Smithsonian American Art Museum.
“Drawing for me is a therapeutic activity.  I find myself spending hours getting lost in the details of my drawings.  I believe it’s in the details of life that art emerges.  A line, a shadow, a texture are just a few details of the natural world.  Bringing those details to paper allow for my art to emerge.  Drawn from a photograph, this piece captures an anomaly found within wrapped construction fencing.”

“Hore Abbey, Cashel, Ireland,” 2012. Sherry Winkelman, IT Specialist, Smithsonian Astrophysical Observatory.
“Hore Abbey is down the hill from the Rock of Cashel in Cashel, Ireland. It was one of many ruins I visited while traveling in Ireland.  While I was drawn to the grey stone and green moss of the walls and arches of the Abbey, I chose to depict these ruins in a more contemporary style as a bridge between past and present.”

Culture of Hunting Whales, 2015. Patricia J. Wynne, Researcher, National Museum of Natural History.

Raising the church after the storm, 2016. Gene Young, Photographer, Smithsonian American Art Museum.

Grapevine Beetle, 2016. Sarah Zuehlke, Volunteer, National Museum of Natural History

Sarah Zuehlke with her drawing of a grapevine beetle. (Photo by Michael Barnes)