Smithsonian Voices

From the Smithsonian Museums

Two people stand in front of a pink neon sign that states "This Present Moment Used to Be the Unimaginable Future"

This Present Moment is Here and Now

New exhibition celebrates the 50th anniversary of SAAM’s Renwick Gallery

A black and white photograph of artist Augusta Savage standing next to her sculpture

Presenting Ten More Visionaries and Rule Breakers in SAAM's Collection

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Remembering Carmen Herrera

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Artists at the Center: Celebrating Black History Month

An illustration of a stamp featuring the face of Edmonia Lewis

Edmonia Lewis and Her Stamp on American Art

SAAM's Senior Curator Eleanor Jones Harvey and Dean Howarth take a closer look at mastodon bones in the exhibition Alexander von Humboldt and the United States: Art, Nature, and Culture. Charles Willson Peale's painting in the background shows similar bones. Photo by Carol Wilson

Capturing Humboldt in the 21st Century Using an 18th-Century Tool

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Are You Feeling Spooky or Soulful This Season?

Carmen Lomas Garza, Camas para Sueños, 1985, gouache on paper

Exploring Latinx Stories in American Art

Kevin Bubriski, World Trade Center Series, New York City, 2001, gelatin silver print, Smithsonian American Art Museum, Gift of the Consolidated Natural Gas Company Foundation, 2003.65.1, © 2001, Kevin Bubriski

The Art of Remembering 9/11

Two Covers from

New Comic Series Presents Ten Visionaries and Rule Breakers in SAAM’s Collection

Jenova Chen, Kellee Santiago, Flower, 2007, video game for SONY PS3, color, sound, Smithsonian American Art Museum, Gift of thatgamecompany, 2013.70, © 2008 Sony Computer Entertainment American LLC. Flower is a registered trademark of Sony Computer Entertainment America LLC. Developed by thatgamecompany.

Building Community Through Video Games

Angel Rodríguez-Díaz, The Protagonist of an Endless Story, 1993, oil on canvas, 72 x 57 7/8 in. (182.9 x 147.0 cm.), Museum purchase made possible in part by the Smithsonian Latino Initiatives Pool and the Smithsonian Institution Collections Acquisition Program, 1996.19, © 1993, Angel Rodriguez-Diaz.

Exhibition Showcases How Artists Challenge Mythic Conceptions of the American West

Photo by Darren Milligan

SAAM Arcade 2021: What Is a Game Jam?

Oree Originol, Justice for Kayla Moore and Justice for Layleen Polanco, from Justice for Our Lives, 2014-2020, 78 digital images, Smithsonian American Art Museum, Museum purchase through the Patricia Tobacco Forrester Endowment, 2020.51A-MM, © 2014, Oree Originol.

Chicanx Queer Visions: Fighting for Change and Exploring Identity

Claggett Wilson, Saviors of France--Jeanne d'Arc, St. Louis, Clovis and the Hands of the Common Soldier, ca. 1919, watercolor on paperboard, Smithsonian American Art Museum, Gift of Alice H. Rossin, 1981.163.13

Discoveries from the Collection: Honoring Sacrifice this Memorial Day with U.S. Military Cemetery Historian

Oree Originol, Justice for Our Lives, 2014-Present, 78 digital images, Smithsonian American Art Museum, Museum purchase through the Patricia Tobacco Forrester Endowment, 2020.51A-MM, © 2014, Oree Originol. Photo of Installation by Albert Ting.

Protest and Remembrance: Chicanx Artists Confront Police Brutality

Paul Manship, Four Angels (sketch for Altar Triptych, American Military Cemetery, Anzio, Italy), ca. 1955, pen and ink and pencil on paper, Smithsonian American Art Museum, Bequest of Paul Manship, 1966.47.147

Discoveries from the Collection: Honoring Service and Sacrifice in American Art

Eric J. García, Chicano Codices #1: Simplified Histories: The U.S. Invasion of Mexico 1846-1848, 2015, offset lithograph on paper, Smithsonian American Art Museum, Museum purchase through the Lichtenberg Family Foundation, 2020.21.1R-V, © 2020, Eric J. García

Chicano Artists Challenging History and Reclaiming Cultural Memory

Untitled (Old Maid's Puzzle). Holmes County, Ohio, circa 1930. This is the first quilt the Brown’s purchased, in 1976, that started their Amish quilt collection.

The Graphic Appeal of Amish Quilts

Unidentified, Untitled (Side with the Farmworkers), front and reverse views, c. 1973, screenprint on computer tractor paper, Smithsonian American Art Museum, Gift of the Margaret Terrazas Santos Collection, 2019.52.4

From Recycling to Revolution: Alternative Media in Chicanx Protest Art

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This Present Moment is Here and Now

Presenting Ten More Visionaries and Rule Breakers in SAAM's Collection

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