Description: The Hirshhorn Museum and Sculpture Garden is not your average museum. For those open to the idea of "modern art"--that is, accepting the use of an expanded range of media and innovative forms to achieve artistic expression--the Hirshhorn is a great place to experience art as modern drama.

Indeed, this whole process begins with an appreciation for the museum’s structure. Designed by architect Gordon Bunshaft, the Hirshhorn is different from anything else visitors will find along the National Mall. Compared either affectionately or derisively to a "donut," a "drum," or a "spacecraft on the Mall," the museum is built in the round. The "spaceship" analogy refers to the fact that the entire structure (except for the entrance foyer) is lifted above ground level on huge stone stilts. Not only that, it is hollow in the center—or rather the structure encloses a courtyard that contains a large, round fountain placed off-center from the structure itself.

The design of the building accomplishes several complementary purposes. The two gallery floors consist of "concentric galleries" that follow the contours of the building itself. The inner galleries, where small sculptures are displayed, face the interior courtyard. Because the exterior walls of these galleries feature floor-to-ceiling windows, the artwork displayed here can be shown in natural light--a rare occurrence in a major museum. For the outer galleries, away from the windows, the cylindrical shape of the building eliminates the mazelike network of galleries typifying most art museums. Visitors pass from gallery to gallery until they return to the starting point.

Himself and Yours Truly have been fans of the Hirshhorn since it first opened its doors in 1974. I myself am particularly fond of the inner galleries with their collection of modern sculpture. I am awestruck when viewing Degas’s fascination with the female form, Picasso’s endless rebellion against tradition, and Giacometti’s dramatic succession of emaciated figures. I love the sensuality of Matisse, the gentle portraits of couples and families by Moore, and the deceptive simplicity of Brancusi. I also like to relax on one of the comfortable benches scattered through these galleries, allowing myself the quiet pleasure of being surrounded by dozens of examples of some of the finest art of the modern age.

The exhibition area in the museum’s lower (i.e., basement) level is also fascinating. No matter the program, one can expect surprises. The media stream in this temporary exhibit area is plastic—often quite literally—and may include any number of extraordinary features. In the exhibition galleries, I have watched videos while special lighting effects were projected throughout the viewing room, gawked at oversized creations make of heavy knoted ropes and accented with all manner of media (feathers and beads, foil and wood, and bits of torn fabric), and marveled at the black-on-black, three-dimensional creations of Anish Kapoor.

Despite the repeated warnings of "Do Not Touch" that are so familiar in most museums, the art of the Hirshhorn has a way of inviting the visitor to participate, both physically and mentally, as part of the viewing process. This is particularly true in the sculpture garden. The Hirshhorn really has two principal garden areas, both of which are filled with monumental pieces of sculpture: (1) The plaza, which surrounds the museum and is partially bounded by a high wall and hedges to provide a sense of privacy against the bustle on nearby Independence Avenue; and (2) a bi-level garden on the National Mall side of the museum, complete with a fountain and usually offering a welcome sense of solitude.

The "star" of the lawn garden, in my view, is Kenneth Snelson’s Needle Tower, a graceful steel and cable construction that uses modern materials and techniques to evoke ancient themes. This sculpture that seems to defy gravity is composed of metal pipes held in place by tension and stress. The pipes rise in sets of three, each set decreasing slightly in size and tapering inward as the tower reaches skyward to its full 60-foot height. The pattern of the Needle’s lines changes with the perspective of the viewer. The overall shape is conical, and as one moves around its base, the dominant lines (the pipes) form a kaleidoscope pattern within the structure. But is the view from under the tower that produces the most spectacular effect. By standing inside the space at its lowest level and looking upward, one is startled to see two geometric figures: a hexagon surrounding a hexagram (or Star of David).

The main part of the bi-level garden is, as suggested, several steps down from street level. That being the case, it’s worthwhile to wander around the perimeter, looking down on the garden’s contents and at the few items placed at street level. The sculptures on the lower level simply look different from this vantage point, viewed from above.

Of the masterpieces to be found here, Auguste Rodin’s The Burghers of Calais is far and away my favorite. I typically circle this large piece, looking at all the burghers’ faces separately. The sculpture depicts a historical incident from the year 1347. After a year-long siege that left Calais on the verge of starvation, six leading citizens offered themselves to the forces of England's Edward III in exchange for lifting the siege and sparing the city. The burghers were instructed to strip to their breeches, place nooses about their necks, and present themselves at the city gate for execution. As an added token of surrender, they carried with them the keys to the city and its protecting castle. Rodin’s portrayal of this offering is poignant and respectful. The dignity of the burghers in this moment of utter surrender touches something that is inherent in the human spirit--qualities that make this sculpture powerfully intimate.

Visits to this museum are enhanced by the fact that it is rarely as busy as some of its sister galleries along the Mall. This makes for a more relaxed, almost proprietary approach to viewing its treasures. Still, it’s always a good idea to check out the Hirshhorn Web site before a planned visit. Information on temporary exhibits and special events is prominently posted. Whatever your personal favorites among this collection, the Hirshhorn is a good place to explore, to reflect, and simply to be.Close