Heavy Lifting: Behind the Scenes of The Contour of Feeling

Ursula von Rydingsvard: The Contour of Feeling presents the artist’s monumental cedar wood sculptures alongside newer works for the first time. The poetic and expressive works, which also use leather, linen, and other organic materials, reveal the process by which von Rydingsvard gives outward visual form to her innermost ideas and emotions.


Gallery guards and educators hear a frequent question from visitors to the museum’s Ursula von Rydingsvard exhibition: how did you get these sculptures into the building? Many of the 26 cedar forms tower close to the ceiling and weigh hundreds of pounds. In fact, the sculpture Krypta I (2014), stands almost 11 feet high and weighs about 2,500 pounds. A conversation with NMWA Registrar Catherine Bade revealed the heavy lifting that occurred behind the scenes to bring The Contour of Feeling to life.

Road Trip

Most of the exhibition’s sculptures were sent on three large trucks from von Rydingsvard’s studio in Brooklyn, New York, to Washington, D.C. Timed to accommodate the museum’s public hours, its busy event schedule, and downtown D.C. street traffic, they arrived in the middle of the night and were carefully moved into the museum several weeks before the exhibition was scheduled to open.

Building Blocks

Due to their monumental size, the sculptures arrived disassembled into large sections in crates, and von Rydingsvard’s studio assistants came to help put them back together. Von Rydingsvard also includes a precise system of marks on the pieces themselves—some that are still visible on the finished sculptures—that help the installation team navigate assembly.

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Installation view of Ursula von Rydingsvard: The Contour of Feeling; Pictured left to right: For Natasha (2015), SCRATCH II (2015), Krypta I (2014), ten plates (2018) (back wall); Photo by Lee Stalsworth

For Natasha Install

Rigging equipment holds the final piece of For Natasha (2015); Photo by Neda Amouzadeh

Krypta Install + Natasha

Riggers work to install Krypta I (2014) and For Natasha (2015); Photo by Neda Amouzadeh

Ocean Floor_Unpacking

A section of Ocean Floor (1996) is unpacked in NMWA's Great Hall; Photo by Neda Amouzadeh

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Installation view of Ocean Floor (1996), Zakopane (1987) (left), and little nothings (2000–15) (back wall); Photo by Lee Stalsworth

It Takes a Village

A team of 17 people, including NMWA’s registrars and exhibition designer, the registrar from the Fabric Workshop and Museum (organizers of the exhibition), fine art handlers, von Rydingsvard’s studio assistants, and the artist herself, worked approximately 100 hours to get the exhibition ready to open.

Wide Load

The biggest challenge of the installation was working with oversized pieces that were too big to fit into NMWA’s normal gallery space. To fit the wide, bowl-shaped Ocean Floor (1996), one of the gallery walls had to be cut back and getting it into the building’s freight elevator was a true feat of engineering.

An Art and a Science

Although von Rydingsvard’s sculptures look tough, their cedar wood and graphite materials are malleable, and the works—like all artworks—must be transported extremely carefully. “Rigging heavy sculptures is both an art and science,” Bade said. “Riggers can spend hours setting up the rigging and strapping the artwork before they actually move to install a piece.” They consider safety concerns specific to each sculpture, calculate the best angle for approach to the installation site, and test different lifts before final placement.

—Alicia Gregory is the assistant editor at the National Museum of Women in the Arts.

Modern Makers: Rose Jaffe

Q&A with Rose Jaffe, a D.C.-based artist and native Washingtonian whose multidisciplinary works feature women and community at the center. Her vibrant murals can be found around D.C., and now in the Museum Shop where a selection of her smaller works are also on sale.

Rose Jaffe and the NMWA mural, photo by Adriana Regalado

Rose Jaffe and the NMWA mural, photo by Adriana Regalado

What is the inspiration behind the NMWA murals?

I want my art to bring color, energy, light, and meaning to a space. The powerful and vibrant women around me inspire my work. I am intrigued by the lines of a face and the stories our bodies tell. By painting larger-than-life portraits of everyday women, I celebrate and honor their existence.

You work in a wide array of mediums—how have you become so versatile?

I have an insatiable appetite for learning and playing with new mediums. More than anything, I tire of paint after a certain point and want to switch it up. I am working on 3D forms now—sculpture, exploring more wood and metal. It’s very exciting to me. I love how art can exist in so many mediums, almost like languages, telling the same story.

What drives the strong thread of activism in your work?

I was lucky to be raised by socially aware parents who took me to marches and rallies in my youth. I stayed engaged in college, and joined an activist collective of artists upon returning to D.C., which influenced me to use my art for a purpose. Art is an amazing conduit for us to build community, create connections, and process and heal trauma. I am passionate about this and always learning how art can spread messages of social empowerment and social change.

Can you name a notable visit to NMWA?
I know I came as a kid, and I remember visiting after college. But my most memorable experience was attending a Fresh Talk featuring the artist Swoon. I got to meet her and fangirl a bit. I cannot express how amazing NMWA’s programming is—and how important the existence of this museum is.

Which women artists are you inspired by right now?

Oh, so many! Painter Lynnea Holland Weiss, artist-activist Kate DeCiccio, illustrator Sara Andreasson, and painter Jessalyn Brooks, to name a few.

Appreciating Architecture: #EmptyNMWA Instameet

More than 25 D.C.-area Instagrammers visited NMWA on June 17, 2016, for a before-hours Instameet. With access to the empty galleries, local photographers explored the museum’s building and collection, as well as the special exhibitions She Who Tells a Story: Women Photographers from Iran and the Arab World and Alison Saar In Print. Attendees including @2020_productions snapped photographs of the event’s snacks, including cookies inspired by the building’s façade. Participants explored the building’s history through a staff-led tour while sharing their tagged photos on social media with #EmptyNMWA.


Left to right: @2020_productions photographs cookies; NMWA’s director of operations leads a tour

Gordon Umbarger, NMWA’s director of operations, explained the fascinating history behind the museum’s architecture. During an outdoor segment of the tour, attendees learned that Theodore Roosevelt laid the building’s cornerstone using the same gavel and trowel that George Washington used for the Capitol Building in 1793. @dc_explorer captured and shared this commonly overlooked feature.

Did you know that the building was first constructed as a Masonic temple in 1907 and women were not allowed entry? It seems fitting that today the building houses works by women artists! Visitors can detect traces of Masonic architecture around the museum. @korofina zoomed in on the building’s exterior frieze featuring the square and compass symbols. @buildings_of_dc captured the full building, which was designed in a Renaissance Revival style by prominent D.C. architect Waddy Wood, from a vantage point across street.

For additional income the Masons rented parts of the building to other local businesses, including George Washington University, a dentist, an insurance agent, and a uniform supply shop. The space hosted the Pix Theatre during the 1940s and early ’50s—until the Masons terminated the theater’s lease due to the sometimes racy nature of its movies. @kjhower1 captured decorative details that used to frame the movie screen.

In 1983, NMWA’s founders, Wallace and Wilhelmina Holladay, purchased the space and opened the museum to the public in 1987. Ten years later, the museum opened an addition within an adjoining building. Formerly a “D.C. pleasure palace,” the building was renamed the Elisabeth A. Kasser Wing, and it now houses NMWA’s Museum Shop and sculpture gallery.

Participants found more Insta-worthy subjects inside the museum. @cczablotney snagged an incredible photo of the museum’s Great Hall and one of its iconic chandeliers while @kaitlyntward focused on the marble balustrades. @beingdave even observed the benches in the Great Hall designed by Florence Knoll. Visitors also ventured into the collection galleries and special exhibitions. @setarrra photographed another participant mirroring a photograph from Tanya Habjouqa’s “Women of Gaza” series, on view in She Who Tells a Story.

It was a fun and creative Instameet! To see all the event’s photos, check out the Storify compilation or browse #EmptyNMWA on Instagram. Follow @WomenInTheArts on Instagram and Twitter to learn about future Instameet opportunities.

—Casey Betts is the summer 2016 digital engagement intern at the National Museum of Women in the Arts.

Camera-Sly: #EmptyNMWA Instameet

On March 8, 2016, the museum hosted an #EmptyNMWA instameet (a gathering of Instagram photographers) in honor of International Women’s Day. NWMA welcomed 30 local instagrammers to visit the museum to tour and photograph the museum’s collection before public hours. Before the tour, attendees enjoyed refreshments on the museum’s Mezzanine—featuring staff-made cookies inspired by artwork from the collection.


Left to right: Collection-inspired cookies; #EmptyNMWA participants in the Great Hall

In the museum’s Great Hall, NMWA Associate Curator Virginia Treanor drew attendees into the history of women artists through a discussion about 17th-century painter Louise Moillon. Because Moillon had limited resources and was barred from life-drawing classes, her renderings of fruit were executed with more skill than her depictions of figures.

Treanor revealed stories about women artists who had successful careers—despite their barriers—but had been scrubbed from art history texts, like Impressionist painter Berthe Morisot. Many ’grammers were surprised to learn that while women make up 51% of visual artists today, only 5% of work on museum walls in the U.S. is by women. Others struggled to name five women artists, but felt confident by the time they shared the #5womenartists challenge on social media after the event.

Drawing inspiration from the museum’s building and collection, @aquinsta shared the museum’s iconic Frida Kahlo self-portrait, @flipflopcaravan marveled at NMWA’s architectural history as a Masonic temple (where women were not allowed entry), and @thisisjamesj chronicled the morning on his blog.

Capturing new views of collection favorites, @dccitygirl incorporated a phone as an additional lens in front of Mickalene Thomas’s A-E-I-O-U and Sometimes Y (2009), while @jww_color snapped a bird’s-eye view of Honor Freeman’s porcelain Tupperware.

Browse more than 150 spectacular images posted from the #EmptyNMWA instameet on Instagram and Storify. Follow @WomenInTheArts to hear about future opportunities. Until the next instameet, visit the museum and keep ‘gramming!

—Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts.

#Instameets @WomenInTheArts

In honor of International Women’s Day, NMWA will host an #EmptyNMWA instameet on Tuesday, March 8. An “instameet” is an opportunity for photographers to gather, meet, and snap pictures for Instagram. The museum will give 30 photographers a chance to explore and photograph the museum’s collection before public hours.

The National Museum of Women in the Arts hosted its first instameet on December 9, 2015, in collaboration with @IGDC, a community of photographers based in the D.C. metropolitan area. NWMA welcomed local instagrammers to visit the museum before it opened to the public to capture the special exhibition Pathmakers: Women in Art, Craft, and Design, Midcentury and Today.

NMWA Associate Curator Virginia Treanor guided 18 photographers through the exhibition and highlighted show-stopping works by midcentury and contemporary women designers while illuminating the artists’ processes—photographers enjoyed hearing about Polly Apfelbaum, who used a punch card as a stencil for her Handweaver’s Pattern Book installation (2014).


Left to right: @ksdirectional’s detail image, @saifahmed99’s photo

The event’s photographs captured the diversity of the dynamic women designers whose work was on view. Photographer @ksdirectional captured an amazing detail photo of Front Design’s Axor WaterDream/Axor Shower System (2014) and @saifahmed99’s installation shot of Vuokko Eskolin-Nurmesniemi’s Circle Dresses (ca. 1964) was chosen as the photo of the day by the #ACreativeDC feed. The instameet gave photographers the chance to see—and share—the exhibition from a new perspective.

2016-02-29 10_28_16-Steph on Instagram_ “After wandering with friends during the #pathmakersinstamee

@tappety’s post about Mickalene Thomas

After spending an hour exploring the exhibition with behind-the-scenes access, museum staff invited attendees to explore the museum’s collection. Many of the participants had never visited the museum before, but were inspired by NMWA’s diverse collection and the architecture of the Great Hall. One participant, @tappety, discovered Mickalene Thomas’s rhinestone-encrusted A-E-I-O-U (and Sometimes Y) during her tour of the third-floor galleries.

Browse the 100 stunning photos captured from the #PathmakersInstameet on Instagram. Apply here by noon on March 4 to have a chance to explore the museum’s empty collection galleries on International Women’s Day and enjoy a special collection highlights tour.

Stacy Meteer is the communications and marketing associate at the National Museum of Women in the Arts.

Mod Women (and Men): NMWA’s Late Night Costume Party

The National Museum of Women in the Arts experienced a blast from the past on October 30 for NMWA Late Nights: Mod Women (and Men). Costumes, dancing, cocktails, and tours accompanied the after-hours party for NMWA’s exhibition opening of Pathmakers: Women in Art, Craft, and Design, Midcentury and Today. The exhibition, organized by the Museum of Arts and Design, highlights women’s contributions to modern design and the way their aesthetic has influenced contemporary art.


Left: NMWA’s Great Hall, Right: Vintage Vagabond pop-up in the Museum Shop; Jack Hartzman Photography

The museum’s Great Hall was filled with 300 guests decked out in their finest mod-inspired outfits, highlighting the exhibition’s midcentury theme. As guests arrived they were welcomed by the Vintage Vagabond pop-up shop in the Museum Shop. The first of its kind at NMWA, the pop-up shop enabled attendees to peruse a selection of vintage apparel including gloves, dresses, and kitten heels. Guests also received prop cat-eye and wayfarer glasses that were perfect for the photo booth.


Visitors examine Dorothy Liebes’s work in Pathmakers; Jack Hartzman Photography

Visitors explored the exhibition through staff-led spotlight tours. They enjoyed the eye-catching, industrial bench by Vivian Beer and marveled at a metallic textile work by Marianne Strengell.

Examining the intersections between art and mass production, visitors were intrigued by Eva Zeisel’s timeless ceramics—coveted for decades everywhere from posh antique shops to Crate and Barrel.

Between tours exploring the more than 80 works in Pathmakers, the multigenerational audience was entertained by songs ranging from swing music to ’90s pop. Guests mingled while resting on sleek lounge furniture worthy of the Mad Men set and enjoyed signature “Mod Martinis” with Green Hat Gin, “Mad Mai Tais” with Plantation Rum, and a fully stocked fondue bar and pigs in a blanket supplied by Well Dunn Catering.


Mod Women (and Men) attendees; Jack Hartzman Photography

The night’s enthusiastic attendees helped celebrate the opening of Pathmakers in style. Throughout the event, NMWA staff scoped out the best costumes and awarded a prize to the winner—though it was hard to choose! Costumes featured attire inspired by the 1950s, psychedelic hippies, and the iconic Jackie O.


Attendees with cat-eye glasses (right) and dancing (left); Jack Hartzman Photography

Pathmakers: Women in Art, Craft, and Design, Midcentury and Today is on view through February 28, 2016. Stay tuned for news about the next event, explore #ModsterMash and #NMWAnights for more posts, see more pictures on Pinterest, and check out the museum’s calendar for upcoming listings.

—Bria Burditt is the development events intern at the National Museum of Women in the Arts.

ABC’s of Art: The 2015 Teacher Institutes

NMWA offered the week-long Art, Books, and Creativity (ABC) Teacher Institute for the sixth year, and for the second time also held the Advanced ABC course for returning teachers. Participants spent the dog days of summer, July 13–17, 2015, learning arts-integration techniques. The ABC curriculum is ideal for third- through eighth-grade educators. During the program, teachers explored new avenues of creativity.

Photo credit: Laura Hoffman

One teacher’s book art project; Photo credit: Laura Hoffman

Made possible through a grant from the U.S. Department of Education, ABC encourages growth in visual literacy and critical thinking, while also highlighting women artists’ achievements. In particular, the work of Maria Sibylla Merian inspired “bug books,” which encourage students to focus on insect life cycles and habitats.

As NMWA’s education intern, I learned as much as the enrolled teachers. I was largely unaware of the many challenges educators face—particularly in issues of literacy in D.C. schools. The Advanced ABC participants discussed ways in which artists’ books could provide visual literacy as a pathway to reading.

Unfamiliar with artists’ books, I was not aware of their practical applications. Teachers found new ways to incorporate concepts into their own curriculum plans. One educator based his flag book on famous women of the American Revolution. Another teacher said these techniques would allow her to “feed the artist in my classroom.” Ranging from investigations of traditional Native American cultures to literacy interventions, many advanced lesson plans were ready to be shared with colleagues by the end of the week.

Teachers wear their hats; Photo credit: Laura Hoffman

Teachers with their hat creations; Photo credit: Laura Hoffman

Participants also constructed sculptural hats and “star books”—books with complex folds and covers that demonstrate knowledge of shapes and primary colors.

The Advanced Institute teachers delved deeper and experimented with circuits to add lights and motorized elements to their books.

Toward the end of the program, the two groups converged during a crafty happy hour at the museum. Program participants enjoyed wine and refreshments and then experimented with paste, marbling, and watercolor techniques during a paper-making activity.

While creating personal portfolios of artists’ books, teachers learned the basics of Visual Thinking Strategies (VTS)—a method for facilitating discussions about art.

VTS encourages close looking and deep thinking, where each student feels his or her opinion validated. This method provides an equal playing field for art appreciation and creative engagement. As an art history student, I often ask about a work’s title, artist, or time period. However, I was exposed to new points of view through hearing participants’ personal connections. VTS creates a culture of thinking where students work together as storytellers.

To access the free curriculum, visit the ABC website. To learn more about the ABC Teacher Institute, check out the museum’s website.

—Brittany Fiocca was the summer 2015 education intern at the National Museum of Women in the Arts.

Frightful & Delightful: Summer Exhibitions

We are excited to announce that NMWA’s summer exhibitions, Super Natural and Organic Matters—Women to Watch 2015, open tomorrow! Museum staff have been busy transforming the 2nd-floor galleries to display these flora-and-fauna-filled artworks by women.

NMWA exhibition team hang works while Patricia Piccinini’s Stags look on.

NMWA’s exhibition team hangs works while Patricia Piccinini’s Stags look on, Photograph: Laura Hoffman

Super Natural explores the works of both historical painters and naturalists alongside contemporary artists.

Historical works like Rachel Ruysch’s 17th-century still life are juxtaposed with contemporary works such as Sam Taylor-Johnson’s video of decaying fruit.

Upon walking into the galleries, the spotlit Stags, by Patricia Piccinini, compels viewers into the room to take a closer look at these sparring hybrid creatures.

One Super Natural gallery displays a variety of ingenious artists’ books together with Maria Sybilla Merian’s lavish illustrations of plants and insects. Not merely beautiful depictions of flowers, Merian’s prints portray insects’ life cycles, including a graphic depiction of a spider feasting on an ill-fated hummingbird. Super Natural subverts traditional notions of women as observers, showing them as inventive and risk-taking artists.

Gallery spaces are transformed for Super Natural

Gallery spaces are transformed for Super Natural, Photograph: Laura Hoffman

A plethora of photographs from Janaina Tschäpe’s “Little Deaths” series appears alongside Ana Mendieta’s “Volcano” series. Both artists’ work reflects their interest in manipulating scenes of nature with the human body.

NMWA’s committee-driven exhibition Organic Matters—Women to Watch 2015 features living artists working with the subject of nature. 

Organic Matters presents 13 emerging or underrepresented artists from the states and countries in which the museum has outreach committees. These artists redefine the relationship between women, art, and nature.

A recurring theme in Organic Matters is the emphasis on humankind’s effect on the environment. Goldschmied and Chiari’s photograph harkens back to Monet’s waterlillies, but presents garbage-made-pretty lilies floating in a stream. Drawings by Jennifer Celio portray an unsettling view of nature in the not-too-distant future. Mimi Kato’s digital landscape explores the presence of mankind within urban green spaces.

Organic Matters artist Dawn Holder lays out individual squares of porcelain grass in Monoculture; Right, Organic Matters artist Rebecca Hutchinson assembles her multimedia installation Patterns of Nature, Photographs: Laura Hoffman

Large floor-based sculptures by contemporary artists Dawn Holder and Rebecca Hutchinson command visitors’ attention in the center of each Organic Matters gallery. Both artists came to the museum for the installation process.

Super Natural and Organic Matters—Women to Watch 2015 are on view through September 13, 2015. Stop in for Free Community Day this Sunday and enjoy noon gallery talks every Wednesday!

—Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts. 

As Teachers Know, There’s Something about Mary—The “Picturing Mary” Teacher Workshop

Staff at the National Museum of Women in the Arts (NMWA) not only provide space to research, present, and discuss the lives and work of women artists, but also hold educational programs and events. At the beginning of many new exhibitions, the Education Department hosts a focused teacher workshop that provides didactic and hands-on materials for teachers’ use in classrooms and beyond. These workshops create a fun and collaborative environment for the teachers to explore the new exhibition, and they present different techniques for using art in educational settings.

The workshop for Picturing Mary happened on a cold and windy evening in January, but many teachers braved the weather to come and learn! Director of Education and Digital Engagement Deborah Gaston introduced the workshop, as well as the online resources available outside of the exhibition. Many of the teachers were excited to explore A Global Icon: Mary in Context online exhibition.

Teachers learned and talked in the Picturing Mary galleries; Photograph Laura Hoffman

Teachers learned and talked in the Picturing Mary galleries; Photograph Laura Hoffman

Associate Educator Adrienne L. Gayoso led the teachers to the exhibition. They spent time in the gallery and then worked in small groups, using discussion strategies to explore the exhibition. One popular method called QUESTs, developed by Harvard Project Zero’s Project MUSE, provided several entry points for talking about art. “(The) QUESTs were very helpful,” commented one teacher, continuing that it was great to get “group input about impressions” of the artworks. Another teacher saw an immediate connection to the classroom, commenting, “I teach an ESL (English as a Second Language) class, and those will provide great general entry points into talking about art as a class that are accessible to my students.” Many of the teachers found the QUESTs adaptable for different types of classrooms, and for exploring art outside of the museum.

Teachers took part in activities that they can use in their classrooms; Photograph Laura Hoffman

Teachers took part in activities that they can use in their classrooms; Photograph Laura Hoffman

Last but certainly not least, the teachers took part in the final activity—a hands-on bookmaking project. They made star books with tooled metal covers. These connected to the idea of the early modern “Book of Hours,” which often included prayers for the Virgin Mary. The teachers were given a chance to make their own special books, and after folding, gluing, and even metal tooling, they were delighted to have fun keepsakes to remind them of their experience at NMWA. One teacher commented, “I really enjoyed this workshop, especially the hands-on component. It’s good to be in my students’ place as well.”

This workshop may sound like fun and games, but the teachers also learned valuable ways to incorporate art, and especially works from Picturing Mary, into their curricula. One teacher saw the benefit of working in groups, appreciating “the fact (that) we did more than we listened—We looked, discussed, and created, accessing multiple modalities,” and making the workshop successful. In the end, the teachers went out into the cold, wintery night with new resources, confidence, and knowledge to help them integrate art into their classrooms.

For those who missed the Picturing Mary teacher workshop, you will not be left in the cold! Here you can find the Picturing Mary Educator’s Resource Packet, a comprehensive guide to strategies discussed in the teacher workshop, and more. This resource does not have to stay in the classroom, however. Use it anywhere to help others picture Mary!

—Rebecca Ljungren is an education intern at the National Museum of Women in the Arts.

If you are a teacher looking for another chance to learn at NMWA, consider applying to our ABC Teacher Institute, which runs Monday, July 13–Friday, July 17, 2015. Learn more and apply.

Making the Video: A Behind-the-Lens Look at “A Global Icon: Mary in Context”

These days, everything seems to be going digital. Artwork is no exception to this change, and museums are taking notice.

With its first online exhibition, NMWA has joined other museums in embracing digital technology. A Global Icon: Mary in Context, complements the museum’s exhibition Picturing Mary: Woman, Mother, Idea, now on view in the galleries. Through detailed images and videos, the online exhibition explores the portrayal of the Virgin Mary in artworks from around the world.


Photography by Laura Hoffman

As the fall 2014 semester’s digital media intern, I was tasked with creating a series of six short videos for the online exhibition, delving into each thematic section plus an introductory video. Despite my past production experience, I wasn’t sure how shooting and editing seven videos would be possible with my two-day-per-week schedule and in less than three months’ time. However, with a plan of action and system of support, I was able to complete them just in time for the exhibition opening.


Photography by Laura Hoffman

For each shoot, we would set up the camera, microphones, chairs, and lights (always bringing extra lights in case one unexpectedly popped) hours before the museum opened to avoid capturing background noise from visitors. Despite our best efforts, sounds—from the *ding* of an elevator door to an ambulance’s blaring siren—would interrupt the shooting. The video’s museum-staff narrators would recite each line of the script at least three times to ensure one usable take.


Photography by Laura Hoffman

During this process, I began editing, piecing together the filmed footage with artwork images and music. At times, keeping track of the hours of footage, image positions, and potential music options was the most challenging part of the editing stage. Conversations between the digital engagement team, curators, and myself involved meticulous reviewing: Did an image move across the screen too quickly? Would panning across rather than zooming in flatter the artwork best? When should the music fade in and out so as to enhance the viewing experience?

By the end of my three-month internship, all seven videos had been exported and uploaded to the online exhibition, available through YouTube. When I walk into the introductory gallery on the museum’s ground level, I take pride in seeing the videos displayed on the installed iPads. It is exciting to see NMWA using technological innovations both on its gallery walls and through the digital realm.

—Dorothea Trufelman was the fall 2014 digital media intern at the National Museum of Women in the Arts.

Explore the full online exhibition, and plan your visit to Picturing Mary, on view at NMWA through April 12.