National Gallery of Art | Videos

Barry Bergdoll, The Philip Johnson Chief Curator of Architecture and Design, The Museum of Modern Art, and professor, Columbia University. In the sixth and final lecture, originally delivered at the National Gallery of Art on May 12, 2013, architectural historian Barry Bergdoll presents a hopeful manifesto of the possibilities of architectural exhibitions, including a look at MoMA's innovative introduction of public laboratories and workshops in which designers, historians, and critics project new futures and new problems in architecture.

Barry Bergdoll, The Philip Johnson Chief Curator of Architecture and Design, The Museum of Modern Art, and professor, Columbia University. In the fifth lecture, originally delivered at the National Gallery of Art on May 5, 2013, architectural historian Barry Bergdoll discusses the establishment, by the 1920s, of exhibitions as a culture of architecture in which one exhibition served as a critique of another, and the exploitation of the propaganda capacity of the exhibition by political agencies, corporations, and the ongoing politics of diplomacy.

Barry Bergdoll, The Philip Johnson Chief Curator of Architecture and Design, The Museum of Modern Art, and professor, Columbia University In the fifth lecture, originally delivered at the National Gallery of Art on May 5, 2013, architectural historian Barry Bergdoll discusses the establishment, by the 1920s, of exhibitions as a culture of architecture in which one exhibition served as a critique of another, and the exploitation of the propaganda capacity of the exhibition by political agencies, corporations, and the ongoing politics of diplomacy.

The Jazz in the Garden Series begins its 13th season May 24. The free concert series features an array of jazz artists performing a wide variety of styles—including salsa, blusion, xylophone, and Afrofunk—every Friday evening from 5:00 to 8:30 at the National Gallery of Art Sculpture Garden. Guests may purchase food and beverages from the Pavilion Café and its carts located around the Garden or bring their own picnics. Alcoholic beverages may not be brought to the premises from outside and are subject to confiscation. Security officers reserve the right to inspect all items brought into the Sculpture Garden. For the safety of visitors and works of art, access to the Sculpture Garden will be limited if the space becomes too crowded. Concerts may be cancelled due to excessive heat or inclement weather. To learn more about Jazz in the Garden concerts and performers, please call (202) 289-3360.

Barry Bergdoll, The Philip Johnson Chief Curator of Architecture and Design, The Museum of Modern Art, and professor, Columbia University. In the fourth lecture, originally delivered at the National Gallery of Art on April 28, 2013, architectural historian Barry Bergdoll considers the role of the exhibition as an instrument for reform in the movement for better housing for the working classes, in the institution of city planning as a modern discipline, and in the emergence of the artistic avant-garde in the years around 1900, all cases of projecting alternative futures.

Barry Bergdoll, The Philip Johnson Chief Curator of Architecture and Design, The Museum of Modern Art, and professor, Columbia University In the fourth lecture, originally delivered at the National Gallery of Art on April 28, 2013, architectural historian Barry Bergdoll considers the role of the exhibition as an instrument for reform in the movement for better housing for the working classes, in the institution of city planning as a modern discipline, and in the emergence of the artistic avant-garde in the years around 1900, all cases of projecting alternative futures.

Barry Bergdoll, The Philip Johnson Chief Curator of Architecture and Design, The Museum of Modern Art, and professor, Columbia University. In the third lecture, originally delivered at the National Gallery of Art on April 21, 2013, architectural historian Barry Bergdoll explores the idea of export architecture and outdoor exhibitions and the development of temporary exhibition pavilions from the world's fair to the open-air museum, including Colonial Williamsburg. The 19th-century debate on national identity as expressed in architectural style is shown to have been advanced by the changing valence of high-style pavilions and redeployed vernacular structures.

Barry Bergdoll, The Philip Johnson Chief Curator of Architecture and Design, The Museum of Modern Art, and professor, Columbia University In the third lecture, originally delivered at the National Gallery of Art on April 21, 2013, architectural historian Barry Bergdoll explores the idea of export architecture and outdoor exhibitions and the development of temporary exhibition pavilions from the world's fair to the open-air museum, including Colonial Williamsburg. The 19th-century debate on national identity as expressed in architectural style is shown to have been advanced by the changing valence of high-style pavilions and redeployed vernacular structures.

Barry Bergdoll, The Philip Johnson Chief Curator of Architecture and Design, The Museum of Modern Art, and professor, Columbia University. In the second lecture, originally delivered at the National Gallery of Art on April 14, 2013, architectural historian Barry Bergdoll describes the rise of the architectural curator and the history of the museum of architecture assayed, born, and grown, if not always thriving. The history of architecture in the spaces of the architecture museum—represented in building fragments or in cork models—is shown to have been in dialogue with the emergence of the textual history of architecture.

Barry Bergdoll, The Philip Johnson Chief Curator of Architecture and Design, The Museum of Modern Art, and professor, Columbia University In the second lecture, originally delivered at the National Gallery of Art on April 14, 2013, architectural historian Barry Bergdoll describes the rise of the architectural curator and the history of the museum of architecture assayed, born, and grown, if not always thriving. The history of architecture in the spaces of the architecture museum—represented in building fragments or in cork models—is shown to have been in dialogue with the emergence of the textual history of architecture.

Barry Bergdoll, The Philip Johnson Chief Curator of Architecture and Design, The Museum of Modern Art, and professor, Columbia University. In first lecture, originally delivered at the National Gallery of Art on April 7, 2013, architectural historian Barry Bergdoll, presents diverse techniques of architectural display developed since the mid-18th century. Far from being poor substitutes for the real experience of architecture as a spatial art in situ, these techniques have been integral to architecture's stake in the evolving discourses of modernity. This lecture considers the entry of architects into the exhibition venues of the mid-18th century and radical new ideas for architecture under the French Revolution.

Barry Bergdoll, The Philip Johnson Chief Curator of Architecture and Design, The Museum of Modern Art, and professor, Columbia University In his first lecture, originally delivered at the National Gallery of Art on April 7, 2013, architectural historian Barry Bergdoll, presents diverse techniques of architectural display developed since the mid-18th century. Far from being poor substitutes for the real experience of architecture as a spatial art in situ, these techniques have been integral to architecture's stake in the evolving discourses of modernity. This lecture considers the entry of architects into the exhibition venues of the mid-18th century and radical new ideas for architecture under the French Revolution.

On view in the early spring of each year, the Gallery's Ames-Haskell Azalea Collection can be seen in the rotunda of the West Building. This beautiful collection of living art includes a wide variety of specimens that bloom colorfully for several weeks.

On October 28, 2012, as part of the Diamonstein-Spielvogel Lecture Series at the National Gallery of Art, Joel Shapiro discussed his nearly 50-year career. Born in 1941 in New York City, Shapiro received BA and MA degrees from New York University. Since his first exhibition in 1970, Shapiro has become one of the most widely exhibited American sculptors and the subject of many solo exhibitions and retrospectives, and his work can now be found in numerous public collections in the United States and abroad. His work, from early minimal objects to increasingly expansive and complex forms, has always dealt with such central issues of the sculptural tradition as size and scale, balance and imbalance, figuration and abstraction. He believes that all sculpture is a projection of thought into the world, and he strives to create intimacy and vitality in all his projects. Shapiro lives and works in New York City. The Gallery owns 16 works by the artist, including drawings, prints, and sculptures.

Joel Shapiro, artist On October 28, 2012 at the National Gallery of Art, Joel Shapiro presents a lecture on his nearly 50-year career as part of the Diamonstein-Spielvogel Lecture Series. Born in 1941 in New York City, Shapiro received BA and MA degrees from New York University. Since his first exhibition in 1970, Shapiro has become one of the most widely exhibited American sculptors and the subject of many solo exhibitions and retrospectives, and his work can now be found in numerous public collections in the United States and abroad. His work, from early minimal objects to increasingly expansive and complex forms, has always dealt with such central issues of the sculptural tradition as size and scale, balance and imbalance, figuration and abstraction. He believes that all sculpture is a projection of thought into the world, and he strives to create intimacy and vitality in all his projects. Shapiro lives and works in New York City. The Gallery owns 16 works by the artist, including drawings, prints, and sculptures.