Signing dating paintings
Please note that the original Phillips house is currently unavailable due to a thermal upgrade project.Special exhibitions and selections from the permanent collection are on view in the Goh Annex and Sant Building galleries, and the café, shop, and courtyard remain open.The first exhibition to focus on this singular masterwork in more than 20 years, it is comprised of more than 40 carefully chosen works—paintings, drawings, pastels, watercolors, and photographs from public and private collections around the world—that reveal the story of In 1921, Duncan Phillips established The Phillips Collection in his family’s 1897 house in historic Dupont Circle.From the outset, the museum has been dedicated to its founder’s vision to be “an intimate museum combined with an experiment station.” This selection of photographs, exhibition announcements, Christmas cards, letters, journals, and more from the museum’s archives reveal how The Phillips Collection has been an “experiment station” for nearly 100 years.From ancient to present times, we have been perplexed by the contradiction between our ability to determine, without a doubt, the exact area of a square and our inability to fit the uncertain circle into that square.∏, with its continual nonrepeating decimal, will not allow it. The persistent unfixedness of π suggests it, and all the circles it formulates are somehow beyond our space and time.
It is possible to misinterpret the precision of Lu’s circle as an effort to deny her own presence in the paintings. The personal has been moved to a place in time separate from the primary experience of the painting.
Circles and concentric circles are recurring motifs in modern and contemporary art.
From Sonia Delaunay to Kenneth Noland to Gary Lang, the circle is a motif that artists have explored using numerous abstract styles, utilizing the circle as an armature upon which to hang personalized painting gestures.
One Hundred Melodies of Solitude, Linling Lu’s ongoing series of circular paintings, sidesteps the usual artist-viewer dynamic. Generally one experiences an artwork as a message sent from the artist to the viewer.
In our time, this has meant the creation of artworks bound by the rhetoric of personal expression.