Local Color

Continuing my recent quest for mid-century modernism, I bring you the Smithsonian American Art Museum’s temporary exhibit, “Local Color: Washington Painting at Midcentury” (running through Oct. 13). Unbeknown to me, D.C. was once the setting for one of the most exciting art scenes in our fair nation.

The time was, you guessed it, mid-century (between the mid-1950s to mid-1970s, to be precise), and D.C. was home to the incredibly influential Color School, typified by its bold and expressive joining of color and form (think stripes and polka dots). The installation at SAAM showcases 27 large-scale paintings, with works by several area artists.

On my way to “Local Color,” I was unexpectedly blown away by the third floor, which is where the modern and contemporary works live. The gallery itself is seriously cool (pictured, above): Pristine white walls and marble columns extend to high, arched ceilings and provide a blank-but-beautiful slate for the thought-provoking works, including the museum’s signature video installation, “Electronic Superhighway” (pictured, right), a melding of scaffolding and 336 televisions arranged in the shape of the U.S., overlaid with 600 feet of neon outlining each of the 50 states. (The TVs play state-appropriate video, from Wizard of Oz in Kansas to a montage of scantily-clad women in Nevada.)

My other surprise for the day was just how cool the museum’s courtyard is. Apparently it’s one of Washington’s largest public event spaces, at 28,000 square feet, but what struck me was its serene atmosphere, gorgeous glass canopy, refined chairs and tables, and the fact that the cafe offers a decent selection of beer and wine (via single-serving bottles). I’d love to meet someone there for a high-brow mid-afternoon drink. Any takers?