Arts
Art and Graphic Design of the European Avant-Gardes Opens at the Frary Gallery
Annie Leibovitz’s Pilgrimage
• May 3, 2012
By the door of the entrance into “Pilgrimage,” a new exhibition of photographs by Annie Leibovitz at the American Art Museum, hangs a photograph of the messiest workshop you’ve ever seen. Blanketed in the green, swampy light of an old fluorescent bulb, wires, saws, copper pipes, oil canisters, paint cans, pruning shears, and drills are crammed within every dimension of a wooden worktable, built into the wall against a peeling, dust-caked window. Chairs are covered in such clutter that they are only recognizable by the legs that stretch toward a ground. This is Pete Seeger’s workshop, just off from the log cabin that he built for his family’s home in Cold Spring, New York, in 1949. He has lived there ever since.
But Pete Seeger is conspicuously absent from the photograph. And for Annie Leibovitz to take a picture of a renowned icon without the presence of the individual is, if nothing else, unprecedented.
Throughout “Pilgrimage,” the audience is in the presence of important figures and icons, tied loosely but surely to a collective American-European consciousness. But the figures all lie just beyond the lens. We see a doorway. It is the entrance into Georgia O’Keefe’s New Mexico studio. We see a wicker bed frame. This is the bed that Thoreau slept on at Walden Pond. We see a windowless room bathed in red light. This was Ansel Adams’ darkroom in Carmel, California, where he developed his photographs in the last twenty years of his life. We don’t get but a haunting of Leibovitz’s subjects—all of whom are dead, save Seeger—yet there their presence is engrained deeply within the images, connecting us to the past not through nostalgia, but within the context of our present.
Annie Leibovitz was 21 years old and still in school when her portrait of John Lennon ran on the cover of Rolling Stone magazine in January of 1971. By 1973, she was the magazine’s chief photographer. Almost over night, she became a photojournalism sensation, and through the years her camera has captured some of the most recognizable and iconic portraits of our time, revealing her to be among the foremost documentarians of the American social landscape. Her most famous photograph is arguably that of a nude John Lennon cocooned around a black-clad Yoko in 1980—taken five hours before Lennon was shot and killed.
Rather than focusing on her subject’s face, or having them pose with the banal glam of your typical high-profile photo shoot, Leibovitz is known for photographing her subject’s full self, from head to toe, engaged in something beyond the camera, frequently posed amidst objects from their lives.
Herein is perhaps the lead-in to “Pilgrimage.” Leibovitz has divested herself of her subjects all together, to tell their stories with only their significant surroundings. The subjects of her photographs, as with the Pete Seger workshop, are only shown in absence. From a busted television to a hat (Elvis and Lincoln, respectively), from a concert gown to a bedroom wall (Marian Anderson, Virginia Woolf), we only see these people through the objects and places tied to their lives.
The focus of these photographs is still celebrity, in a way. Perhaps “persons of significance” is a better way to say it—you won’t see George Clooney’s liquor cabinet or Angelina’s dirty laundry in this show. You will see Sigmund Freud’s bookshelf, Elvis Presley’s busted television (he had a habit of breaking them, with apparent force), Emily Dickinson’s nightgown, her only surviving dress, and Yosemite Valley, from the same location that Ansel Adams took his archetypal photographs of the landscape throughout the early 20th century.
Leibovitz’s own pilgrimage, which led to this exhibit, began by accident. “I started the project at a difficult time in my life,” she said at a tour of the exhibit on Jan. 24. Two years ago, she explains, she was in the middle of some financial and personal hardships. “I took the kids to Niagra Falls as a day trip. As they were leaning on the rail, I walked up behind them and snapped a photo. It’s a photo that anyone could take—an American snapshot.”
This photo hangs in the exhibition, marking a jumping off point for the journey to come. “I hope that what anyone can get out of this is that we are in a great country, and there is so much to see if you just hit the road. That’s what happened to me.”
Through her exploration, Leibovitz revisited locations repeatedly, letting them lead her to new ones, like a subconscious scavenger hunt. Concord, Massachusetts, for example, was a particularly rich area of discovery. First going there to photograph Walden Pond, she was drawn into the world of Thoreau, which led to Ralph Waldo Emerson, Louisa May Alcott and her father Bronson. All these figures are represented in some way in the exhibition. One of the Alcott sisters was a mentor to Daniel Chester French, the sculptor who created the statue of Lincoln in the Lincoln Memorial. Leibovitz followed the trail, winding up in French’s studio in western MA, which led her to the National archives, where she found a rare multiple-lens glass pate of a Lincoln portrait. The National Archives led to Gettysburg. This led to Matthew Brady’s studio. And so on.
“I was trying to find a reason to live, places to be inspired,” Leibovitz said. “This is the kind of project that doesn’t end. The show went up, but that doesn’t mean it’s over. I did this to feed my portrait work, to save it. And it did. But there’s no reason I can’t return to this later.”
She also discussed the significance of children to this work: “Hanging this show, I saw children running around the museum. I loved it. So I hung everything low, cluttered the rooms with pictures, for children. The book [accompanying the exhibition] is dedicated to my children. I can’t wait to see a classroom in here, to see what the children think.”
Equally significant to the show are two technical facts regarding Leibovitz’s process. Unlike the work that made her into the presence she is today, none of this work was commissioned. This is Leibovitz’s first personal assignment since she was a student. This is also her first foray into digital photography. She used an array of cameras, starting with a cheap digital number that fit in her pocket, and eventually upgrading to a wide-angle lens with tripod.
“Pilgrimage” is significantly smaller and more intimate than almost anything Leibovitz has ever done. And its audience of museum goers is comparatively more modest than the national and international syndication of the magazines she works with. But Leibovitz is thrilled with the outcome and location of her project. “The Smithsonian is popping right now,” she said. “Doing a lot of great things. I feel very cool being here, so steeped in history.”
“We think we know who people are,” Leibovitz said. “But when you try to really understand someone, you find out how much there is to know,” and perhaps how much we can never know. Through her explorations, however, Leibovitz doesn’t seem to be worried about how well she knows her subjects. Her understanding is on a different level—an interpersonal one, tied to her intellectual roots, her heritage, her family and her sense of self. To put a face to self-discovery is no small feat, especially for someone who has lived her life behind the public spotlight, not in front. This show offers a portrait of a portrait artist and, as it turns out, there is not a face to be seen—just the essence of various selves.
For more information visit [AmericanArt.si.edu](http://americanart.si.edu/exhibitions/archive/2012/leibovitz/)
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Through the Post-Impressionist Lens
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Post-Impressionism is a movement that often diverges the innovations of the collective whole among its individual artists. The painters are known and respected— Cézanne, Gauguin, van Gogh, Seurat—but their styles varied wildly and their directions were individually effusive and disparate. They also thrived in the precarious decades between Impressionism and Cubism (roughly 1890 – 1910), two of the most profound, loud and influential art movements of the past 300 years. As such, they are frequently and easily unhinged from their art historical parameters in museum settings.
“Snapshots: Painters and Photography, Bonnard to Vuillard,” the newest exhibit at The Phillips Collection, deals extensively with the Post-Impressionists, rethinking the movement and redefining everything in its wake. It not only solidifies the distinct and long-term influence of Post-Impressionism, but illuminates the profound artistic impact of a landmark technical innovation from 1888: the Kodak handheld camera.
The amateur camera made it possible for a broader public to capture daily life in snapshots, and in the hands of painters the door was opened to an entirely new understanding of composition, value and spatial relationships that reenergized the artists’ methods and creative vision. “Snapshots” presents works by seven of the first artists to experiment in photography: Pierre Bonnard, Edouard Vuillard, Maurice Denis, Félix Vallotton, George Hendrik Breitner, Henri Evenepoel and Henri Reviére.
This exhibition is the first of its kind, presenting over 200 photographs along with about 70 paintings, prints and drawings by the artists who took them. We are brought into the world of photography at its inception, and through these artists we see how the Kodak altered the perspective of our cultural lens. Even without a single work by Picasso, Braque or Duchamp, the urgency of cubism to resuscitate the future of painting becomes pertinently clear. We feel just why fine art began moving so quickly, without ever stopping to look back.
Entering the exhibition, you come upon a handful of small paintings by Bonnard. One is a portrait of the artist’s sister and brother-in-law. They sit smoking in a sharp, stark light, and at the bottom of the canvas is a large hand holding a pipe. It comes from outside the canvas, presumably belonging to the artist.
Immediately, we get an understanding of a photo-influenced composition. The figures act as compositional devices rather than subjects. As in a Rothko painting, Bonnard’s family members become strategically placed shapes that support an abstract harmony.
The perspective of the artist’s own hand and pipe is not a view Bonnard would ever have had before his canvas, but only if he put his hand before the camera lens. There is also radical foreshortening of the figures in space, making the painting almost graphic, illustrative or claustrophobic—we are contained in the space with them. This is the cropping and lighting of a photograph.
Sure enough, Bonnard primarily photographed his family and immediate circle of friends at home or during summer days in the countryside, examples of which abound in the exhibit, many strikingly similar to the scene in the painting. The eye of the camera, as it seems, is a contagious and invasive visual filter. It didn’t take even a decade to alter artists’ sense of space.
Walking through the exhibit, these moments reoccur and overlap: we see photographs that look like studies for paintings, paintings that bring together surrounding photographs, sketches and prints filtered through a camera lens. To these artists, photography was still a mimetic medium, used to better understand their paintings—to clarify a perspective, to study the shape of a figure or the dimensional accuracy of a mirror’s reflection.
Photography was initially frowned upon by critics, which made the artist’s reserved about revealing their work with it, which is perhaps why most of these photographs have never before been on exhibit. It is interesting, though, that even within this exhibition we start to see a certain superfluity of the paintings, not the photographs. However beautiful the paintings are, the act of painting what is captured in the photograph becomes redundant.
Breitner’s photographs, among the others in the show, are in fact more compelling than his paintings. A pioneer of street photography, he focused on the city as a visual resource: his street scenes of carriages, canals, sand carters and mill workers, construction and urban bustle, are some of the most moving images on display.
In the work of Vuillard, the marriage of painting and early photography becomes almost seamless. His photographs of family and friends, posing in the mundane theater of quiet existence, sit alongside his paintings of domestic moments. They inform one another, communicating to its audience the artist’s world and vision. The works in this room serve also as nice companions to similar Vuillards currently on view in the National Gallery of Art’s “Small French Paintings” exhibit.
“Snapshots” comes at a unique time, as Kodak files for bankruptcy and digital photography poises to monopolize the industry, leaving traditional film with almost no place in contemporary culture. But just as oil paints took the place of tempera and egg-based paints in the 15th century, the takeover of digital photography does not negate the impact of the precedent set by film. The introduction of photography altered our perceptions of our surroundings, but it took a group of painters to reveal the potential of its beauty.
Exhibiting the works among this subset of Post-Impressionists showcases an important development within a movement that is often difficult to pin down, concentrating the significance of the exhibition as well as the unity of these artists. These works seem in many ways like the sparks that set off the explosion of 20th century art. And yet here they hang, delicate, pensive and ethereal, as if standing on the precipice of an endless free-fall without thinking to look down.
“Snapshots: Painters and Photography, Bonnard to Vuillard,” is on view at The Phillips Collection through May 6, 2012. For more information visit PhillipsCollection.org
A Golden Passion: The Art of Bill Adair
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Nestled like an egg in a courtyard of high-rises and apartment buildings just off Dupont Circle sits Gold Leaf Studios. A 10,000-square-foot carriage house built in 1903 by Evalyn Walsh McLean, the building stands as an urban anomaly — one of those small architectural wonders that momentarily suspends reality when first seen. Its stucco walls and adobe tile roof recall something of the Old West, as if at any moment a cowboy-capped young stablehand will swing open the heavy wooden door and wonder aloud what sort of business a confused looking man in strange, foreign clothes has with the boss.
But the traditions at Gold Leaf Studios date much further back than the old west. And the boss, William B. Adair, a master gilder, frame historian and catch-all depository for aesthetic and historical idiosyncrasies from here to Byzantium, knows a little more than your average rancher.
Adair is among a small handful of international authorities on frame fabrication, conservation and the nearly extinct art of gilding: applying fine gold leaf to the surfaces of paintings, wood, frames or anything else you could possibly conceive (Martha Stewart did it to pumpkins — Adair taught her how). He has employed his expertise extensively with every major museum in the city and consults with gallerists, architectural firms and private collectors throughout the world. His eyes look not into a work of art from the outside, but out from the artwork into the world it reflects.
Walking into the studio, you are greeted by a flurry of activity and projects, which it becomes clear is a reflection of Adair himself. His five studio assistants occupy every dimension of the crammed and cavernous workshop, wielding brushes, cotton swabs and an arsenal of unidentifiable tools that date back to the Renaissance. Indeed, the gilding techniques employed at the studio are of an age-old craft that has remained unchanged since the Late Middle Ages
“Man has worked with gold as long as it’s been around,” says Adair. “Gilding, in fact, is the third oldest occupation in history — behind prostitution and advertising.”
As with the other two oldest professions, there are varying techniques for gilding. But the oldest and most common form is a process called water gilding, which Adair employs exclusively at Gold Leaf Studios. After first applying layers of gesso to linen or wood — for a painting or a frame — the gilder then applies a layer of clay and glue, called bole, to help the small thin sheets of gold leaf adhere. The applied gold is then burnished and can be lightly manipulated. For a textured, dynamic surface, such as embossed vines wrapped about a picture frame, warm gesso can be carefully ladled upon the surface to create the patterns before laying the gold leaf, a process called pastiglia.
Examples of gold leaf abound in museums and buildings around the District, perhaps most prominent displayed in the National Gallery of Art’s permanent collection of 13th and 14th century Italian paintings, which is all but overrun by brilliant gold leaf altarpieces. “The National Gallery is resplendent with examples of Renaissance gilding,” says Adair. “There’s really nothing like it in the area.”
The collection’s few paintings by the Italian master Duccio (about 1260 – 1319) illuminate the ethereal splendor of gold leaf, as well as the sweep of humanist philosophy at the heart of Renaissance. (But that history is for another day.)
Adair began his long tenure with framing and gilding rather fortuitously. After studying fine art at the University of Maryland, he found work with the National Portrait Gallery. “I was hired to work in the exhibits department,” he says. “And they put me in charge of framing. Of course, one thing led to another, as it goes, and in 1982, I left to found Gold Leaf Studios.”
He tells the story like a shrug, undermining the inevitable mad passion that evidently took him over. This is not an occupation one just happens to fall into, like business administration. Adair’s multifaceted work requires him to be a historian, anthropologist, diligent researcher, tedious craftsman and sharp intellectual — usually all at once. He can distinguish periods and demographics in history from the geometric flourish on a strip of wood lining a painting that most of us would entirely disregard.
“But that is precisely the job of the frame,” he says. “If the frame jumps out at you or feels incongruous to the artwork, it isn’t doing its job. It’s a little bit like God — if it’s doing everything right, most people won’t even notice that it’s doing anything. In the Middle Ages, it was said that an empty niche in a cathedral is where God dwells. They were often left empty intentionally — like an empty frame can stand for an unspoken wonder otherwise within its borders.”
His history with gilding began in 1975, when the Smithsonian awarded him a grant to travel to Europe to learn about tools and techniques from the few remaining master gilders working in the Renaissance tradition. Working back and forth between these interwoven ancient crafts, Adair found his calling.
The year after he founded Gold Leaf Studios, Adair mounted the first ever exhibition of American frames, titled “The Frame In America, 1700 – 1900.” Along with the exhibition, which was sponsored by the American Institute of Architects, he produced a catalogue that is still regarded as an invaluable reference for American frame history. (The book, titled after the exhibit, is available at Blurb.com.) In 1995, he curated a follow-up exhibition, “The Frame In America, 1860 – 1960,” which traveled around the country through the Mid-Atlantic Arts Alliance for five years.
In 1991, the American Academy in Rome awarded Adair’s achievements with the Rome Prize in Design, wherein he spent six months further immersed in the elusive study of the origins of frame design. He is a founding member of the Society of Gilders and a member of the American Institute for Conservation of Historic and Artistic Works. The list of accolades, acclaim, professional anecdotes and associations stretches on like the scrolls of Ancient Alexandria, but talking to him, all that seems to matter is the craft and the history.
“Back in the 13th and 14th centuries,” he says, “as much time and money was spent on the frame as the artwork. They were custom designed to fit each individual painting.”
A well-designed frame is integral to illuminating a sound work of art. And Adair has made it his life’s work to preserve these traditions, while reintroducing them to the cultural market.
At his studio, Adair develops new frame designs and reproduces period frames. Each frame is handmade to enhance and relate to the work it holds. Through the years, he has amassed a repertoire of frame designs that pays homage to historical periods and styles around the world.
Meanwhile, in his conservation department, he preserves and repairs antique frames, gilded objects and furniture better than any in the trade. Since its founding, Adair has held his studio to museum standards of conservation, and it has long been a member of the American Institute for Conservation of Historic Artistic Works. “We’re committed here to combining contemporary techniques with age-old and proven methods,” he says. “Nothing is more important than preserving the historic and aesthetic value of each piece, whether we’re working with an old family portrait from the turn of the century or a Cézanne watercolor.”
Adair also hosts regular seminars throughout the country and internationally on gilding, finishing techniques and frame history. Instructing students, hobbyists and field professionals, he is a regular at the annual Frame Convention in Las Vegas, and is frequently booking classes at the Washington Design Center, just off L’Enfant Plaza.
For several years, Adair has been in partnership with Montgomery College in Silver Spring, holding seminars for educators on gilding practices. “My goal right now is to train the trainers,” he says. “I want teachers to be familiar with the art of gilding so that it can be reintroduced as a viable art.”
Through these seminars, he hopes to combat the decline of trade skills in education in the U.S. But despite what Adair calls, “a lack of artisanship in the world,” he has begun to notice an increasing interest in these forgotten arts.
“Along with the digital revolution,” he says, “there has been a parallel movement in homegrown craft revival. It has taken many forms. You see it in the local food markets and in the growing interest in vintage and custom goods. People want to know where their products come from, their histories, and they want to know that they are made well.”
Adair has found a unique companion for championing this cause in Prince Charles.
The Prince of Wales has long noticed this cultural and utilitarian deficit and called on Adair to consult in his international mission, The Prince of Wales Foundation’s Artisan Training Program. “From tiles, to woodwork, to gilding, The prince has a keen interest in reviving lost arts,” says Adair. “When he found out I was teaching those things here, he contacted me.”
Adair’s last seminar took place at the Intersections D.C. American Arts Festival, through Atlas Performing Arts Center, on U Street. On the weekend of Feb. 27, Adair’s staff hosted two free interactive seminars, demonstrating and teaching the application of gold leaf to mirror frames.
If you missed that one, there are always more to come. Adair’s latest exhibition is currently on view at the Muscarelle Museum of Art, the museum for the College of William in Mary, in Williamsburg, Va., which he will accompany with a lecture and gilding seminar on Friday, March 16. Invited by Scholar-in-Residence John T. Spike, a noted art historian, author and lecturer specializing in Italian Renaissance and Baroque art, Adair has put together a show of “The 20 greatest frames from my private collection, representing the history of frames from Byzantine to modern.”
Accompanying the exhibition are the paintings of artist Kay Jackson, Adair’s wife and collaborator. An acclaimed painter whose work has been exhibited nationally and internationally, including a commission by President Clinton for the official White House holiday card in 1997, Jackson’s work has a long history of addressing environmental concerns such as endangered species, pollution and loss of habitat. Jackson frequently employs gold leaf techniques in her work, which she learned through her husband, and for the coming exhibition she has created gilded icons of endangered species, drawing parallels to the endangered craft of gilding.
A technically brilliant artist, Jackson has made more than just paintings in these gold leaf works. She has constructed intricate, cryptic, glowing panels and boxes, encasing the endangered animals — from crayfish and salmon to the spotted owl — in armatures of gold and surrounded by symbols that span eras and iconologies.
Jackson custom designs the frames for each work, inspired by 14th century panel paintings. She herself observes that her boxes are like 16th century cabinets of curiosities, those assembled by wealthy European collectors to celebrate and catalogue their knowledge of the world. Yet despite these callings upon the past, the works look entirely contemporary. Her pieces depict both the fragility and resiliency of our ecosystems and species, and connect the vulnerability of our planet with the delicacy of our artistic culture.
“Creating art is an act of faith,” says Jackson. “With each passing year it takes an increasing commitment to continue what most people think is a spontaneous and blissful activity.”
The sentiment is echoed in the work of her husband. Adair works daily to pull a near-extinct art form back from the fate of obscurity, just as Jackson puts her artistry to work to combat environmental threats. It is a bond that, in many ways, must move beyond love and into a commitment that bridges more than just the distance between two persons. They are committed to eight centuries of artistic traditions, the preservation of cultural heritage, life and ideas. As a gilder lays each feather-like sheet of gold leaf delicately to the frame, they approach their work with a focus that must be narrow and unwavering, but with a vision that sees into and beyond the picture as a whole.
For information about William B. Adair and Gold Leaf Studios, visit www.GoldLeafStudios.com. To get information on Adair’s exhibit and lecture at the Muscarelle Museum of Art and to sign up for his gilding seminar, visit web.WM.edu/Muscarelle. For information about other workshops hosted by Adair on gilding, frame history, or inquiries regarding framing or consultation, call Gold Leaf Studios at 202-833-2440. [gallery ids="100519,119175" nav="thumbs"]
14th and U Street Gallery Walk
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Just a few blocks from the Dupont Circle and McPherson Square Metro stations, the art galleries around 14th Street, between U Street and Logan Circle, hold some of the strongest collections of contemporary artwork in the city. Original, effusive, tasteful and energetic, the community of galleries in this area hosts work by new and emerging local artists as well as nationally and internationally renowned artisans. It binds communities and creates ambitious dialogues not only between the viewers and the works but among the artists. The common thread throughout the galleries, on top of its contemporary bent, is the impressive quality of the work. From the photographs of Annie Leibovitz to interactive sculptures with their own idiosyncratic attitudes, the works on view at these galleries should not be missed. And they’re all within a 15-minute walking radius. The weather is about to turn warmer, and there’s no better way to celebrate a nice Friday evening like a walk down the 14th Street galleries. Here’s what’s coming up.
Hamiltonian Gallery
Hamiltonian will feature the work of gallery artists Jenny Mullins and Sarah Knobel, March 17 – April 14, with an opening reception on Saturday, March 17, from 7 to 9 p.m. The drawings and paintings of Jenny Mullins, who recently completed a Fulbright Nehru grant in India researching spiritual tourism and traditional Buddhist Thangka painting techniques, explore the Western adherence to Eastern spirituality, while exploring notions of commercial mythology and consumer culture. They are “a world of low-budget mysticism . . . consumable, disposable and filled with the empty calories we crave.” The works are — perhaps ironically — gorgeous, engaging and meticulously rendered. The video art of Knobel explores individuality when forced through the sieve of cultural assumptions. The photos and videos in this exhibit are tied together by the use of origami, wherein Knobel focuses on its connections to ritual and spirituality.
www.HamiltonianGallery.com
Gallery Plan B
Five artists, all working with metal or metallic mediums in painting, etching, photography and sculpture, are featured in Gallery Plan B’s latest exhibition, “Precious Metals,” on view now through April 8. Andrew Wapinski layers gold and silver leaf with acrylic, graphite, pigments and resin resulting in substantial panels with visual and physical depth. Using photos of local scenes, Shelley Carr etches copper, then cuts and composes the copper pieces within a composition. Filmmaker Donna Cameron shifts focus of her film to the subject matter of photographs applied to aluminum surfaces. Mike McClung burns through layers of vellum into heavy paper underneath and treats the burned edges with metal leafs and layers them into whimsical patterns. Well known local artist Robert Cole will round out the group with a few of his whimsical, stylized steel sculptures. In addition, on the weekend of March 24-25, Tina Bark will be showcasing her jewelry designs from 1 to 4 p.m. each day.
www.GalleryPlanB.com
Project 4 Gallery
Rhode Island-based artist Paul Myoda’s latest works will be on view in the exhibition “Glittering Machines” at Project 4, from March 24 – April 28. A Yale MFA graduate, who has been awarded grants from the NEA, the Warhol Foundation and Howard Foundation, Myoda has been developing this series of interactive sculptures for several years now, out of his studio near Brown University, where he works as an assistant professor in sculpture and new media. “Glittering Machines,” writes Myoda, “are modular, kinetic, interactive, and illuminating sculptures. Each sculpture behaves in different ways depending upon the proximity and behavior of the viewer. Taking cues from various bioluminescent animals and insects, these behaviors range from attraction to repulsion, camouflage to revelation, predictability to spontaneity.”
www.Project4Gallery.com
Hemphill Fine Arts
“Gun Shy,” an exhibition by photographer Colby Caldwell, will open March 24 at Hemphill, with a public reception from 6:30 to 8:30 p.m. on Saturday, March 24. Caldwell’s photographs of depleted shotgun shells, abandoned buck blinds, found birds, feathers and abstractions derived from a corrupted film frame highlight his preoccupation with the relationship between photography and memory. “A photography embeds time, freezes it and carries it forward,” says Caldwell. His works, inspired concomitantly by the changing landscape of his rural Maryland home and by a corrupted frame of Super 8mm film of landscapes shot while traveling, conjure feelings of nostalgia and loss, serving as “epitaphs for the now antiquated film age that Caldwell himself mourns.” These beautifully alluring depictions of things discarded and left behind are captivating.
www.HemphillFineArts.com
Adamson Gallery
Master printer David Adamson, who lives and works locally out of his Adamson Gallery, was the man who made the archival pigment prints for photographer Annie Leibovitz’s landmark exhibition, “Pilgrimage,” now on view at the Smithsonian American Art Museum (for our coverage of that exhibition, visit www.Georgetowner.com and visit our Arts & Society page). If you would like to spend time with Leibovitz’s photographs outside of the crowded museum atmosphere and in a more intimate setting, Adamson is currently exhibiting a selection of her photographs in his gallery through March 24. This is a unique opportunity to get some “alone time” with one of the most lauded living artists working today.
www.AdamsonGallery.Jimdo.com [gallery ids="100521,119226,119185,119219,119212,119196,119205" nav="thumbs"]
Theater Shorts: Shakespeare, Sinatra, O’Neill and Twist
• April 19, 2012
Two Shrews, a mock Shakespeare trial, Sinatra and a tango or two, O’Neill still running strong and Arias with a Twist. That’s a few of the things on stage or on tap in Washington’s performing arts scene.
Here’s a look:
SINATRA AND THARP — Tony Award winner and American choreographer and legend Twyla Tharp feels a move coming on as she marries dance to the music of Frank Sinatra, arguably one of the country’s greatest interpreters of the American Songbook in “Come Fly Away.”
The production, now at the Kennedy Center’s Eisenhower Theater through April 29, marries the vocals of Sinatra, with a live on-stage big band and 24 of the world’s finest dancers.
“Come Fly Away” hit Broadway on the heels of Tharp’s successful theater homage to the music of Billy Joel in “Movin’ Out.” In “Come Fly With Me,” four couples fall in and out of love during the course of one night at a nightclub saturated with Sinatra’s love songs, ballads and rueful takes on loving and losing. The show’s score combines familiar hits, such as “My Way” and “That’s Life,” with newly discovered vocal performances from the Sinatra archives.
THE SHREW, TWICE TAMED, LOUDLY AND IN SILENCE — There’s still a chance to see Synetic Theater’s singular and silent take on “Taming of the Shrew,” part of its Shakespeare without words effort through April 22 at the Lansburgh Theater. But if you want some words to go with the battling Petruchio and Kate, there’s a more traditional, if no less visceral, version coming to the Folger’s Elizabethan Theater on May 6, directed by Aaron Posner.
TWIST AND O’NEILL FESTIVALS NOT OVER YET — There’s still a chance to catch the unique, one-of-a-kind sensibilities of puppet master Basil Twist in two locations. His magnificent showcasing of the ancient art of Japanese puppetry, “Dogugaeshi,” remains at the Studio Theatre through April 22. “Arias with a Twist,” his hip and wild, abundantly inventive collaboration with Joey Arias, described as a “trippy, madcap, musical fantasia of ecstatic and eye-popping enchantments,” remains at the Woolly Mammoth Theatre through May 4.
Meanwhile, two key parts of Arena Stage’s Eugene O’Neill Festival remain on stage and provide an opportunity to see the master American playwright’s most ambitious plays. That would be “Long Day’s Journey Into Night,” O’Neill’s through-the-sharp-looking-glass autobiographical play about the Tyrone family at Arena’s Kreeger Theater, directed by Robin Phillips through May 6. At the Shakespeare Theater, Michael Kahn provides his take on O’Neill’s challenging “Strange Interlude” through April 29.
A MOCK TRIAL: CLAUDIO V. HERO — In “Ado, I Do, Adieu: Claudio V. Hero,” the high court of Messina will gather at the Shakespeare Theatre Company’s Sidney Harman Hall April 30 with a dinner, followed by a trial, as it should be.
Hearing the case: quite an all-star bench cast, with Supreme Court justices Ruth Bader Ginsburg (presiding), Samuel Alito and Elena Kagan along with other judges: Merrick Garland, Douglas Ginsburg, Brett Kavanaugh and David Tatel.
The case—another in a series of mock trials on Shakespearean issues and themes which began in 1994—centers around the young lovers of “Much Ado About Nothing, Claudio and Hero, in which Hero is seeking divorce from her husband Claudio, he being no hero after disavowing his bethrothed based solely on rumors and false charges.
PLAYING POKER WITH THE DEVIL, IRISH-STYLE — “The Seafarer,” Conor McPherson’s rich, language-driven comedy-drama gets the Scena Theatre and Robert McNamara treatment at the H Street Playhouse through May 20 at 1365 H St., NE.
The play is a gathering of verbose Irish have-nots, full of the blarney and battling for the soul of one of their own in a drawn-out, drunken poker game, which is fueled by Sasheen, a potent form of Irish whiskey that might even addle Satan.
A BIG MEAL — For foodies and theater folk, “The Bit Meal” by Dan LeFranc is a family saga that follows five generations from the vantage point of a single restaurant table.
LeFranc wrote the Studio Theatre 2nd Stage Hit, “Sixty Miles to Silver Lake,” which was performed in 2010. So, it’s fitting that “The Big Meal,” directed by Johanna Gruenhut, will be a part of the 2nd Stage season at the Studio Theater this year, running April 25 through May 20.
National Gallery of Art Makes Digital Images of Collection Available through Launch of NGA Images
• April 5, 2012
The National Gallery of Art has announced the launch today of NGA Images, a new online resource that revolutionizes the way the public may interact with its world-class collection. This repository of digital images documenting the National Gallery of Art collection allows users to search, browse, share, and download images believed to be in the public domain, underscoring the Gallery’s mission and national role in making its collection images and information available to scholars, educators, and the general public.
With the launch of NGA Images, the National Gallery of Art implements an open access policy for digital images of works of art that the Gallery believes to be in the public domain (those not subject to copyright protection). Designed by Gallery experts to facilitate learning, enrichment and exploration, NGA Images features more than 20,000 open access, high quality digital images, available free of charge for download and use. The resource is easily accessible through the Gallery’s website, and a reproduction guide and a help section provide advice for both novices and experts.
Users may search by keyword in the Quick Search box on the home page of NGA Images, or they may browse the regularly updated “featured” image collections prepared by Gallery staff on topics such as 19th-century French Art or frequently requested works.
The Gallery’s open access policy is a natural extension of its mission to preserve, collect, exhibit and foster the understanding of works of art at the highest possible museum and scholarly standards. In applying the policy in a global digital environment, the Gallery also expands and enhances its educational and scholarly outreach. The Gallery believes that increased access to high-quality images of its works of art fuels knowledge, scholarship and innovation, inspiring uses that continually transform the way we see and understand the world of art.
Click here to access NGA Images.
Gallery Walk
• April 4, 2012
Canal Square and Beyond
Nestled in a brick courtyard at M and 31st Streets, walking into Canal Square on the evening of a “First Friday” feels like stumbling into the best social club you never knew existed. The four galleries clustered in the space are teeming with admirers, friends, patrons and chance roamers, peering about the galleries or lounging in the benches just outside, smiling and chatting. And what’s more—they’re chatting about art! The galleries are also local institutions—Parish Gallery, Moca DC and Alla Rogers Gallery have all recently celebrated their twenty-year anniversaries. Just north of Canal Square, The Old Print Gallery and the Ralls Collection have also made their mark on the city’s artistic community (the Ralls Collection even used to reside in Canal Square). Among the most longstanding and respected galleries in the city, this cluster of art venues embodies what’s best about Georgetown: history, community, style and beauty, with an eye for the contemporary.
Parish Gallery
Internationally recognized African painter, Bethel Aniaku, will be at Parish Gallery through April 17, in an exhibit titled “Instinct of Desire.” The cultural explored in these paintings include a blend of historical, literal, and artistic elements, which aim to reunite the viewer with their own culture and origins. Aniaku, by comparison, honors the trade of his own carpenter ancestors by using wood as the base for his paintings. His compositions play with color, light, space and mixed media, relying on instinct more than any direct intention, as if the painting was not being made but found as an artifact that has always existed.
Opening April 20, Parish Gallery will open its next exhibit, showcasing the artworks of husband and wife Christine and Richmond Jones, in a show titled “Two Views/One Vision.” Starting out as an illustrator and designer, Christine’s oil paint and pastel works represent the textures and colors, people and places in which she finds inspiration. Richmond, who also began his career as a graphic designer, found a new creative direction as a “transparent watercolor painter.” Since then, both artists have been exhibited in numerous juried exhibitions around the country and received many awards for their individual and collective work.
The Ralls Collection
The Ralls Collection is in the midst of a powerful group exhibition of gallery artists, which runs through June 15. It is difficult to encapsulate the significance of The Ralls Collection to Washington’s artistic community, much in the same way it is hard to grasp the broad archive of substantial artwork that has passed through the gallery since its opening over 20 years ago. The work present in the gallery’s current exhibit showcases a remarkable collection of beautiful contemporary artwork with a clear vision and impeccable taste. Many of the artists Ralls chose for the exhibition have been with the gallery since it’s beginning, and some are welcome additions. David Richardson, a personal favorite of this author whose show at Ralls last year garnered tremendous national attention (including a feature in the New York Times), uses planes of bold colors and textures, recalling landscape both foreign and familiar, contained yet effusive.
Moca DC
Moca DC stands up for the little guy, in more ways than one. A nonprofit, part of the gallery’s mission is to be “Open to all artists all the time,” offering opportunities to artists at every stage of their careers. Moca gives more exhibits to emerging, first-time and beginning artists than almost any in the city. The gallery is also devoted to the tradition of figurative art, including three annual exhibits dedicated to the nude human form (this July, keep an eye out for the exhibit, “A Celebration of the Figure”). This April, the gallery will mark its twenty-year anniversary by expanding its scope to include three juried exhibits of figurative works a year, the first of which will focus on the interpretation of the figure within contemporary art practice. Moca’s 20th Anniversary Show, which will hold an opening reception on April 6, is also on display.
The Old Print Gallery
“Blossom DC,” the latest exhibit at The Old Print Gallery, is inspired by the 100 year anniversary of the gift of the cherry blossoms from Japan to Washington. The exhibit celebrates the beauty and youthful energy of spring’s blossoms, featuring a large number of prints by local D.C. artists coupled with a selection of works by contemporary New York City artists and several early 20th century printmakers. Established in 1971, The Old Print Gallery has long been known for its wide selection of antique prints and maps, and has expanded recently into the world of contemporary printmaking. The gallery also hosts printmaking workshops and demonstrations, establishing itself as a source of inspiration and information for print artists, enthusiasts and new admirers alike.
Alla Rogers Gallery
The Alla Rogers Gallery, founded in 1990, focuses on the accessible contemporary art from Eastern Europe and the countries of the former Soviet Union. The Gallery has curated hundreds of exhibitions and led artist exchanges between American and Eastern European artists. Currently on display is the artwork of Alla Rogers herself, who recently exhibited 42 of her own paintings in Kiev at the National Fine Art Museum of Ukraine. Her works on canvas plays out like the geography of memories, folding and falling into one another. These are not works you want to miss. [gallery ids="100714,120510,120468,120502,120496,120477,120490,120484" nav="thumbs"]
Dutch Golden Age Celebrated at National Gallery With ‘Civic Pride’ Portraits
• March 15, 2012
“Civic Pride: Dutch Group Portraits from Amsterdam” is now on view at the National Gallery of Art. The special installation involves two large-scale group portraits, rarely seen outside the Netherlands.
Two of Amsterdam’s most important portraitists from the mid-17th century, Govert Flinck (1615–1660) and Bartholomeus van der Helst (1613–1670), captured the confidence of the men who governed the Kloveniersdoelen, the building where one of Amsterdam’s three militia companies held its meetings. The painting were created during the years the Dutch controlled New Amsterdam, which was to become New York City.
“These group portraits offer a remarkable visual record of the inner workings of the Dutch Republic at the height of its presence on the global stage in the 17th century,” said Earl A. Powell III, director, National Gallery of Art. “It was through the efforts of the citizens depicted, and the civic organizations they represented, that the young republic achieved its economic, political and artistic golden age. We are not only grateful to the Rijksmuseum and Amsterdam Museum for lending these masterpieces to the Gallery for a period of five years, but also to the city of Amsterdam, which owns the works, for agreeing to this generous loan.”
Also, at the March 9 reception for the exhibit was Renee Jones-Bos, Ambassador of the Netherlands to the United States. Arthur Wheelock, Jr., is the curator for Northern Baroque paintings at the National Gallery of Art. One of the paintings depicts an ancestor of the exhibit’s research assistant Henriette de Bruyn Kops.
The two works, both titled “Governors of the Kloveniersdoelen,” were painted 13 years apart. Flinck (in 1642) and Van der Helst (in 1655) created comparable yet distinct interpretations of the shared sense of duty and personal interactions of two different generations of governors. The attire and demeanor of the governors varies from painting to painting, reflecting the different decades in which the men were portrayed. The two canvases are on long-term loan from the Rijksmuseum and the Amsterdam Museum, respectively. A new type of portraiture appeared in the northern Netherlands in the 17th century: large group portraits depicting the leadership of professional and civic organizations. Guild administrators, government officials, board members of charitable institutions and officers of militia companies commissioned distinguished artists to create these large-scale group portraits, destined for the walls of the organizations’ headquarters. The portraits often depict the sitters in the midst of a meeting or a meal, emphasizing the members’ shared responsibilities, personal interactions and civic-mindedness.
Flinck and Van der Helst were two of the most renowned portraitists of their time. Flinck had trained under Rembrandt, and like his famous teacher, specialized in both history paintings and fashionable portraiture. Van der Helst was famous for the elegant realism of his portraits and was a favorite artist of the Amsterdam militia companies. His version of “Governors of the Kloveniersdoelen” (1655) has just undergone a complete restoration for the occasion of the exhibition. The results are dramatic, as the painting now has a brilliance of color that was obscured by old varnish for many years. Although hundreds of group portraits were painted during the 17th century, they are rarely seen outside the Netherlands; many still remain with the organizations that originally commissioned them.
The exhibit runs through March 11, 2017.
[gallery ids="100533,119968" nav="thumbs"]
NGA’s French Galleries Re-open Jan. 28 to Renewed Radiance and Delight
• February 8, 2012
After two years of renovation, the National Gallery of Art will reopen its galleries devoted to impressionism and post-impressionism to the public on Saturday, Jan. 28. Housed in the west building of the gallery, the installation displays some of the greatest paintings by Manet, Monet, Renoir, Cézanne, Van Gogh and Gauguin on view anywhere.
On Jan. 25, the National Gallery held a preview of the reinstalled 19th-century French art along with a reception for special guests, friends and benefactors, who smiled anew at the familiar faces of Manet, Van Gogh, Gauguin and others.
“The gallery’s French impressionist and post-impressionist holdings, comprising nearly 400 paintings, are among the most prized in the collection, and rightly so,” said Earl A. Powell III, director, National Gallery of Art. “While the appearance of these revered rooms has changed very little — preserving the conditions of light, the room proportions, and wall colors that make the gallery one of the great places to view art in the world — the paintings themselves will be shown in a newly innovative arrangement.”
Here’s how the gallery sums up the new installation: It is “organized into thematic, monographic, and art historical groupings. The ‘new’ Paris of the Second Empire and the Third Republic are highlighted through cityscapes by Manet, Renoir and Pissaro. Showcasing sun-dappled landscapes and scenes of suburban leisure, a gallery of “high impressionism” masterpieces of the 1870s is prominently located off the East Sculpture Hall, including such beloved works as Monet’s The Artist’s Garden at Vétheuil (1880) and Renoir’s Girl with a Hoop (1885). A gallery is devoted to the sophisticated color experiments of late Monet, while Cézanne’s genius in landscape, still-life, and figure painting is explored in another. Paintings exemplifying the bold innovations of Van Gogh and Gauguin are displayed along with Degas’ later, experimental works in one gallery, followed by a room of canvases by artists such as Delacroix, Renoir, and Matisse celebrating exoticism and the sensual use of color and paint handling. The final gallery is dedicated to the Parisian avant-garde circa 1900: Toulouse-Lautrec, Modigliani, Rousseau, and early Picasso.”
National Gallery Celebrates Reopening of Its French Galleries With Public Programs
The National Gallery of Art will celebrate the reopening of its galleries devoted to 19th-century French impressionist and post-impressionist painting with an array of public programs throughout the opening weekend of Jan. 28 to 29 — and later. Located on the main floor of the west building, the galleries will reopen to the public on Jan. 28, following a two-year renovation.
All programs are free of charge in the east building auditorium unless otherwise noted. Seating is available on a first-come, first-served basis.
For more information, visit www.NGA.gov.
[gallery ids="100474,116429,116449,116417,116456,116408,116466,116400,116472,116441" nav="thumbs"]Kay Jackson at Addison/Ripley
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Kay Jackson is a local artist whose paintings have garnered national and international acclaim, including a commission by President Clinton for the official White House holiday card in 1997. Working in an inspired sunroom-studio on the third floor of her Dupont Circle home, she has long focused her work on addressing environmental concerns, such as endangered species, pollution and the loss of animal habitat. Her current exhibition at Addison/Ripley Fine art, running through March 3, continues her decades-long pursuit and calls upon the near extinct artistic tradition of gilding to help communicate her vision.
Jackson has long employed gold leaf techniques in her work and for the exhibition has created gilded icons of endangered species, drawing parallels to the endangered crafts she employs in the work’s creation.
Jackson learned the art of gilding through her husband, William B. Adair, a master gilder, frame historian and owner and founder of Gold Leaf Studios in Dupont Circle. Adair is among a small handful of international authorities on frame fabrication, conservation and the nearly extinct art of gilding: applying fine gold leaf to the surfaces of paintings, wood, frames or anything else you could possibly conceive. He has employed his expertise extensively with every major museum in the city and consults with gallerists, architectural firms and private collectors throughout the world.
The oldest and most common form is a process called water gilding, Jackson explains. After first applying layers of gesso to linen or wood — for a painting or a frame — the gilder then applies a layer of clay and glue, called bole, to help the small thin sheets of gold leaf adhere. The applied gold is then burnished and can be lightly manipulated. For a textured, dynamic surface, such as embossed vines wrapped about a picture frame, warm gesso can be carefully ladled upon the surface to create the patterns before laying the gold leaf, a process called pastiglia.
Examples of gold leaf abound in museums and buildings around the District, perhaps most prominent displayed in the National Gallery of Art’s permanent collection of 13th and 14th century Italian paintings, which is all but overrun by brilliant gold leaf altarpieces.
But rarely is gold leaf seen employed in contemporary settings, and in these gilded icons of endangered species now on display, Jackson has drawn a remarkable and fitting parallel to the ancient, endangered craft of gilding.
A technically brilliant artist in every sense, Jackson has made more than just paintings in these gold leaf works. They are intricate, cryptic, glowing panels and boxes that Jackson has constructed entirely, encasing the endangered animals — from crayfish and salmon to the spotted owl — in armatures of gold and surrounded by symbols that span multiple time periods and iconologies.
Jackson custom designs the frames for each work, inspired by 14th century panel paintings. She herself observes that her boxes are like 16th century cabinets of curiosities, those assembled by wealthy European collectors to celebrate and catalogue their knowledge of the world. Yet despite these callings upon the past, the works look completely contemporary. Her pieces depict both the fragility and resiliency of our ecosystems and species, and they connect the vulnerability of our planet with the delicacy of our artistic culture. This is also echoed in the act of creating the work itself. “Creating art is an act of faith,” Jackson says. “With each passing year it takes an increasing commitment to continue what most people think is a spontaneous and blissful activity.”
More of Jackson’s series of gilded endangered icons will be on display at the Muscarelle Museum of Art, the museum for the College of William & Mary, in Williamsburg, Va., accompanying a historic frame exhibition by husband Adair on the history of frames from the Byzantine to modern period.
For information on Kay Jackson’s Addison/Ripley exhibit, visit AddisonRipleyFineArt.com. For information on her Muscarell Museum of Art exhibit, visit Web.wm.edu/Muscarelle. [gallery ids="100470,115891" nav="thumbs"]
