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Smithsonian  We're not a museum. We're 19 of them and the National Zoo. Legal:

We're joining our @hirshhorn in covering the internet in polka dots today, in honor of Yayoi Kusama's 88th birthday! 🔴🔵⚫️ Kusama’s “Infinity Mirrored Room—Love Forever” (1966/1994) has two peep holes for visitors to peer into, so you participate in the animated art as you’re repeated into infinity—like being inside a kaleidoscope.
It’s one of six of the mirrored environments on view now in #InfiniteKusama , open through May 14.
Collection of Ota Fine Arts, Tokyo/Singapore, © #YayoiKusama

For thousands of years, Chumash women have been making baskets for domestic use. When 18th-century Spanish explorers and missionaries arrived in coastal Southern California, the group of related Native peoples adapted their technique to meet requests from the outsiders.
Juana Basilia Sitmelelene was among the weavers who created designs identical to those on Spanish colonial coins.
Only six of these baskets remain. Some are inscribed with the weavers’ names, though weavers traditionally did not sign their baskets. That these women were asked to do so shows the high regard in which their art was held.
This one in @smithsoniannmai doesn't bear her name, but its weaving technique and design layout are nearly identical to another presentation basket known to have been woven by Sitmelelene.
#5womenartists #HiddenHerstory #WomensHistoryMonth

Happy #FirstDayofSpring ! We're getting garden inspiration from this #spring 1899 seed catalog cover in our @silibraries.
We have 10,000 seed and nursery catalogs from 1830 to the present in our collection. They document U.S. agricultural history, trace the introduction of plants into the country, and provide a window into advertising of the past.

You can browse hundreds of seed catalog covers online—search “seed catalogs” at

Today we remember musician Chuck Berry. He drove this Cadillac on stage at the Fox Theater in St. Louis, the same theater that turned him away as a child because he was African American. It's now in our @nmaahc.

If you hear "Danny Boy," today, you'll be listening to the lyrics of Frederic Weatherly. The lawyer and prolific lyricist also wrote "The Book of Gnomes," a beautifully illustrated children's story that’s in the rare book collection of our @silibraries.
This page features “A Council of Gnomes,” many woodland creatures, and infinite caption possibilities.
Happy #StPatricksDay ! ☘️

This poster claims "it's summer somewhere in the world." But there's 96 days until summer here...not that we're counting.
The poster, in our @amhistorymuseum's collection, was designed by John Van Hamersveld for the 1964's "The Endless Summer." The movie followed two young surfers as they went around the globe in search of the perfect wave, and helped give rise to the popularity of surf culture that continues to this day.
Van Hamersveld was the art director for “Surfer” magazine and a friend of R. Paul Allen, the assistant cinematographer on the movie. He was only paid $150 for the iconic design, and Allen hired silk-screener Eric Askew to produce the poster in a garage in Costa Mesa, Calif.

A story “Mad Men” overlooked: Caroline R. Jones, who spearheaded advertising that changed how Americans thought about some of the world's most popular brands.
Jones built a trailblazing career as an advertising executive, starting as a copywriter in the early 1960s and eventually founding multiple firms. Her clients included American Express, the National Urban League and Kentucky Fried Chicken (her agency developed the slogan “We Do Chicken Right!”). Throughout her career, Jones struggled against the assumption that her ads should only address African American consumers. Many times her targeted ad campaigns were so successful that companies used them for national work—but, in one case, replaced African American figures with white models.
Jones died in 2001, but her story lives on through items of hers at our @amhistorymuseum. #WomensHistoryMonth #HiddenHerstory

#CurrentMood : “A Winter Morning–Shovelling Out” from Every Saturday, 1871, by Winslow Homer in our @americanartmuseum. ❄️ (We're the woman in the back feeding the birds.) #snowday #DCsnow

Yes, whales have earwax and yes, we have 1,000 samples of it in our collection.
Like the rings of a tree, these waxy time capsules give scientists a timeline of data about a whale's life and environment—opening up a whole new canal of ocean study.
This piece of whale earwax is among hundreds of rarely seen specimens and artifacts in #ObjectsofWonder , a new exhibition at our @smithsoniannmnh. It explores the breadth, scope and splendor of the world’s most extensive natural history research collection and its sometimes surprising role in scientific discovery. It’s open through 2019.

Getting that #FridayFeeling from this Alma Thomas painting, “Snoopy--Early Sun Display on Earth” (1970), in our @americanartmuseum.
Thomas was the first student to graduate from Howard University with a degree in art, and taught art to junior high school students in Washington, D.C., for more than 30 years. After she retired, she developed her signature abstract and colorful paintings inspired by nature.
In 1972, at age 75, Thomas was the first African American woman to have a solo exhibition at the Whitney Museum in New York.
For #WomensHistoryMonth , we’re joining our friends at @womeninthearts and asking you to name #5womenartists .🎨

#ThrowbackThursday to last week when “Wind Sculpture VII” was dazzling outside our @nmafa.
Like a ship’s sail, the fiberglass sculpture by Yinka Shonibare MBE appears to blow in the wind. It evokes the sails of ships that crossed the Atlantic and other oceans, connecting nations through the exchange of ideas, products and people—complex histories of not only the slave trade and colonization but also the dynamic contributions of Africans and African heritage worldwide.
At 20 feet tall and nearly 900 pounds, “Wind Sculpture VII” is part of a series of seven individually designed sculptures, and the first artwork permanently installed in front of the museum. #Windsculpture

#InternationalWomensDay poster from 1975, printed by the Women’s Graphics Collective, in our @cooperhewitt.
Four Chicago-based women designers founded the group in 1970, bringing together women designers and activists to produce art that advanced the goals of the women’s movement. They opened their doors to any woman eager to collaborate, regardless of formal art training, and every poster was designed and completed by committee rather than by individuals.
This design uses direct, straightforward symbols to communicate a message of unity, a popular design approach amongst political and activist posters from the 1960s and 1970s. #WomensHistoryMonth

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