Talks & Conversations

Finding Awe: Chakaia Booker’s Monumental Sculptures

Part of Finding Awe
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Chakaia Booker, "Acid Rain"

How do artists help us reflect on the interconnectedness of the world? Learn how awe fuels environmental action while exploring Chakaia Booker’s rubber sculptures.

During this 90-minute pause from your daily route, we’ll look slowly and mindfully at the works of art in the exhibition In the Tower: Chakaia Booker: Treading New Ground. You’ll be invited to look closely, wonder, and share your insights with the group. Together, we’ll learn “awe practices” that you can bring to your everyday life.  

The workshop exploring Chakaia Booker’s work will be offered on October 24 at 2:15 p.m. and on October 25 at 10:30 a.m. and 2:15 p.m. We encourage you to register for one workshop on this topic and to join us for future topics as well.

Ages 18 and up. Questions? Email us at [email protected].

“Finding Awe” is grounded in the National Gallery’s mission to welcome all people to explore and experience art, creativity, and our shared humanity. It offers new “awe practices” drawn from the research of Dacher Keltner, professor of psychology at the University of California-Berkeley, director of The Greater Good Science Center, and author of Awe: The New Science of Everyday Wonder and How It Can Transform Your Life (2023). Research shows that experiences of awe help support mental and physical wellbeing and open us up to greater creativity and deeper empathy. 

Image credit: Chakaia Booker, Acid Rain, 2001, rubber tires and wood, National Museum of Women in the Arts, Washington, D.C. Museum purchase: Members' Acquisition Fund 

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We look out onto a sweeping, panoramic view with trees, their leaves fiery orange and red, framing a view of a distant body of water under a sun-streaked sky in this long, horizontal landscape painting. The horizon comes about halfway up the composition, and is lined with hazy mountains and clouds in the deep distance. Close examination slowly reveals minuscule birds tucked into the crimson-red, golden yellow, and deep, sage-green leaves of the trees to either side of the painting. Closest to us, vine-covered, fallen tree trunks and mossy gray boulders line the bottom edge of the canvas. Beyond a trickling waterfall and small pool near the lower left corner, and tiny within the scale of the landscape, a group of three men and their dogs sit and recline around a blanket and a picnic basket, their rifles leaning against a tree nearby. The land sweeps down to a grassy meadow crossed by a meandering stream that winds into the distance, at the center of the painting. Touches of white and gray represent a flock of grazing sheep in the meadow. A low wooden bridge spans the stream to our right, and a few cows drink from the riverbank. Smoke rises from chimneys in a town lining the riverbank and shoreline beyond, and tiny white sails and steamboats dot the waterway. Light pours onto the scene with rays like a starburst from behind a lavender-gray cloud covering the sun, low in the sky. The artist signed the painting as if he had inscribed the flat top of a rock at the lower center of the landscape with his name, the title of the painting, and date: “Autumn – on the Hudson River, J.F Cropsey, London 1860.”

Talks & Conversations:  Finding Awe: Jasper Francis Cropsey’s Autumn—On the Hudson River 

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Registration Required
We look out onto a sweeping, panoramic view with trees, their leaves fiery orange and red, framing a view of a distant body of water under a sun-streaked sky in this long, horizontal landscape painting. The horizon comes about halfway up the composition, and is lined with hazy mountains and clouds in the deep distance. Close examination slowly reveals minuscule birds tucked into the crimson-red, golden yellow, and deep, sage-green leaves of the trees to either side of the painting. Closest to us, vine-covered, fallen tree trunks and mossy gray boulders line the bottom edge of the canvas. Beyond a trickling waterfall and small pool near the lower left corner, and tiny within the scale of the landscape, a group of three men and their dogs sit and recline around a blanket and a picnic basket, their rifles leaning against a tree nearby. The land sweeps down to a grassy meadow crossed by a meandering stream that winds into the distance, at the center of the painting. Touches of white and gray represent a flock of grazing sheep in the meadow. A low wooden bridge spans the stream to our right, and a few cows drink from the riverbank. Smoke rises from chimneys in a town lining the riverbank and shoreline beyond, and tiny white sails and steamboats dot the waterway. Light pours onto the scene with rays like a starburst from behind a lavender-gray cloud covering the sun, low in the sky. The artist signed the painting as if he had inscribed the flat top of a rock at the lower center of the landscape with his name, the title of the painting, and date: “Autumn – on the Hudson River, J.F Cropsey, London 1860.”

Talks & Conversations:  Finding Awe: Jasper Francis Cropsey’s Autumn—On the Hudson River 

-
Registration Required
We look out onto a sweeping, panoramic view with trees, their leaves fiery orange and red, framing a view of a distant body of water under a sun-streaked sky in this long, horizontal landscape painting. The horizon comes about halfway up the composition, and is lined with hazy mountains and clouds in the deep distance. Close examination slowly reveals minuscule birds tucked into the crimson-red, golden yellow, and deep, sage-green leaves of the trees to either side of the painting. Closest to us, vine-covered, fallen tree trunks and mossy gray boulders line the bottom edge of the canvas. Beyond a trickling waterfall and small pool near the lower left corner, and tiny within the scale of the landscape, a group of three men and their dogs sit and recline around a blanket and a picnic basket, their rifles leaning against a tree nearby. The land sweeps down to a grassy meadow crossed by a meandering stream that winds into the distance, at the center of the painting. Touches of white and gray represent a flock of grazing sheep in the meadow. A low wooden bridge spans the stream to our right, and a few cows drink from the riverbank. Smoke rises from chimneys in a town lining the riverbank and shoreline beyond, and tiny white sails and steamboats dot the waterway. Light pours onto the scene with rays like a starburst from behind a lavender-gray cloud covering the sun, low in the sky. The artist signed the painting as if he had inscribed the flat top of a rock at the lower center of the landscape with his name, the title of the painting, and date: “Autumn – on the Hudson River, J.F Cropsey, London 1860.”

Talks & Conversations:  Finding Awe: Jasper Francis Cropsey’s Autumn—On the Hudson River 

-
Registration Required