ART METAMORPHOSIS Gala at Georgetown Waterfront
• August 10, 2012

Art Metamorphosis Gala was a great success with over 3500 attendees in attendance including DC Mayor Vincent C. Gray.

For one night only, the harbour area in the heart of the nation’s capital has been transformed into an artist’s canvas.

Twenty-seven (27) innovative artists of DC created 300 feet long works of art in front of attendees. Artistic video and light installations by SND+VSN on flood walls, music by MANIFESTO accompanied by his live violin act and live opera performance by Pablo Henrich, hair and fantasy show by Stella Bonds & Roche Salon will enhance the transformation.

Nick’s Riverside Grille and Tony & Joe’s offered summer inspired cocktails and full bar menu.

[gallery ids="100869,127239,127233,127225,127219,127213,127206,127200,127193,127251,127187,127256,127261,127179,127267,127245" nav="thumbs"]

Corcoran Free Summer Saturdays Commence
• June 11, 2012

Each summer between Memorial Day and Labor Day, the Corcoran Gallery of Art drops its admission fees on Saturdays, offering their impressive and engaging collection to the community. As of last weekend, the gallery’s Free Summer Saturdays have begun.

Ontop of free admission, the Gallery offers complimentary tours, family workshops and special programs throughout the season. Programs this summer are inspired by their summer exhibition of painter Richard Diebenkorn’s lauded Ocean Park Series (opening on June 30). Events include the opportunity to create your own cigar box artwork inspired by the color planes and angular structures of Diebenkorn’s work.

Their exhibition of beach photography, “The Deep Element: Photography at the Beach,” will accompany an array of other beach-inspired exhibitions and activities. They are even offering yoga sessions, taught by Christine Saladino of Tranquil Space, throughout July.

For the full list of Free Summer Saturdays programs and ongoing events, visit Corcoran.com. For a video tour outlining all the Corcoran’s summer offerings, click here.

Georgetown Gallery Walk: Book Hill
• May 17, 2012

The Georgetown galleries on Book Hill are one of the few remaining true gallery clusters in the city. Meandering along a few blocks of Wisconsin Ave., we are surrounded by art, free to walk into galleries that call to us from their vibrant window displays. This group of galleries offers us a great variety of works to explore, from renowned glasswork to classic landscapes and the contemporary and avant-garde. Here’s a look at what’s happening on Book Hill. For more information on the Georgetown Galleries on Book Hill, visit GeorgetownGalleries.com.

Addison/Ripley Fine Art
——
Washington artist Isabel Manalo is a painter who has taught at American University’s art department for ten years, as well as shown locally, nationally and internationally throughout her career. “Bits of Elsewhere” is Manalo’s third exhibition with Addison Ripley, and the new work follows her ongoing pursuit of capturing memory and the tenuous, ethereal uncertainty of human nature. Her mixed media works mix paints and photographs with unprecedented subtlety and grace—it’s hard not to be moved by their pulsing, expansive nature. March 10 – April 14.

1670 Wisconsin Ave. NW. AddisonRipleyFineArt.com

Heiner Contemporary
——
Through March 3, the collages, sketchbooks, prints and installations of Austin Thomas turn Heiner Contemporary into a center of social and artistic discourse. Thomas’s centerpiece for the exhibit, an interactive desk and workspace, engages visitors to talk, read, draw, think, and listen. The show will close with an artist discussion on March 3 at 4 p.m. On March 10, Heiner Contemporary will open its next exhibition, titled: “Avery Lawrence is Moving a Tree and Arranging Suitcases.” Details are still trickling in, but if the title alone doesn’t get your attention, what will?

1675 Wisconsin Ave. NW. HeinerContemporary.com

Maurine Littleton Gallery
——
Renowned Seattle-based glass artist Ginny Ruffner will open an exhibit of her work on February 29, in conjunction with a screening of an award-winning documentary of the artist’s life and work at the Smithsonian’s Renwick Gallery on the same day. The film will be screened at noon, followed by a gallery event at 2 p.m., where the artist will be in attendance. Ruffner’s works are constantly evolving “visual thought experiments,” and her glass sculptures and drawings turn life’s daily props and occurrences into remarkable visual experiences.

1667 Wisconsin Ave. NW. LitteltonGallery.comhttp://www.littletongallery.com/)

Susan Calloway Fine Arts
——
Local interior designer Andrew Law will employ his craft and eye for refined, classic and approachable design to “create a room” in Susan Calloway Fine Arts’ already gorgeous and comfortable gallery, pulling from contemporary artworks, antique paintings and prints from the gallery’s private collection. The collaboration, “At the Crossroads: Art + (Interior) Design,” pursues a common and important objective of enhancing design and lifestyle with art, and offering a platform for beauty in our daily lives. March 2 – March 17.

1643 Wisconsin Ave. NW. CallowayArt.com

Galerie Blue Square
——
Two series of works by Russian-born artist Yevgeniy Fiks will open with a public reception on March 3, from 4 – 7 p.m., and continue through April 14. Fiks explores historical, communist threads in his conceptual works and projects, presenting the cultural, Post-Soviet practice of “making the absurd seem normal, at the same time the West is seduced and implicated in it.” His latest series, “Magnitogorsk Guide to the National Gallery of Art,” will be on view, and a “performance” tour at the National Gallery of Art on March 24 accompanies the exhibit.

1662 33rd St. NW. GalerieBlueSquare.com

Neptune Fine Art
——
Gallery Director Chris Neptune, recently moved into DC from New York, specializes in Modern and Contemporary art. With an extensive collection of artists ranging from contemporary masters such as Mel Bochner (now on view in the Tower of the National Gallery) and Alex Katz, to the timeless works of the Cubists and Impressionists, Neptune Fine Art has work to suit anyone’s palette. Opening April 21, “On Paper: Picasso & Matisse” offers a look into the drawings and prints of these renowned artists, who had a history of healthy competition with each other.

1662 33rd St. NW. NeptuneFineArt.com

Robert Brown Gallery
——
Formerly on R St. near Dupont Circle, gallerist Robert Brown specializes in 20th century and contemporary works, as well as rare Chinese advertising posters from the early 1900s and Chinese antiques. Currently on display are works by prominent DC-based artist Linn Meyers, who has been commissioned in the recent past by The Phillips Collection, as well as William Kentridge (South Africa) and Oleg Kudryashov (Russia), two of the most significant living printmakers who were exhibited together at The Kreeger Museum in 2009. This is an exhibit for contemporary and historically minded viewers, and one you don’t want to miss.

1662 33rd St. NW. RobertBrownGallery.com [gallery ids="100501,118157,118151,118145,118125,118140,118133" nav="thumbs"]

Renegade DC
•

Picture the statues of soldiers at the Korean War Memorial. Nineteen stainless steel troops, each one a modest giant over seven feet high, poised and erect, caught in a still moment between the tumult of battle, their faces weary, cautious, but brave. Each figure weighs 1,000 pounds, and their cold weight shows, as if they were heaved begrudgingly up from the earth. They wear full combat gear, dispersed among strips of granite and juniper bushes, mirroring the rugged Korean terrain.

Now picture a gaggle of children playing ‘war,’ dressed up in plastic helmets, wearing oversized shirts and wielding toy guns, urgent and sincere in that way only children can be. Of course, as with all children’s games, it’s not just boys. There’s a girl there, too. The frilly poof of her ballerina dress and flower-laden headband are too tempting to forgo, so of course she wears it to battle. This doesn’t make her any less formidable of a soldier; on the contrary, her eyes are filled with a grave and startling glare powerful enough to face any boy she encounters. She holds her plastic pistol straight, pointing it firmly and directly at anyone who crosses her path.

Imagine these children playing ‘war’ in this field of looming, steel warriors, bounding through them like trees in a forest, peaking their heads around sculpted kneecaps to check for signs of the encroaching enemy.

Haunting? Yes. Grim? You bet. Heartrending? I’d say so.

Jodi King took a picture of it.

Actually, King not only photographed this event, she conceived it, recruited the children, put together the production and flat-out photobombed the Korean Memorial to get the shot.

However, it’s more than just the Korean Memorial she blitzkrieged with her camera. Jodi has been doing this all around the city, selecting historic, cultural and industrial landmarks in Washington and using them as the stage for her no-holds-barred conceptual photo shoots. And she usually gets them done before security arrives to kick her off the premise.

Part photography, part social activism, part artistic battle cry and entirely original, this is the Renegade DC project. Spawned from a number of personal and professional issues she’s harbored with the District’s professional arts scene, King took to its famed public spaces and local mainstays to speak out on behalf of creative expression. “There seems to be a lot of red tape around this city,” says Jodi. “It’s just hard to break into any of the good creative jobs around here. If you’re an already established artist, DC is a good place to be. But there are a lot of young and emerging artists who are struggling and under the radar because of what they want to do. And with a lack of grassroots support, artists grow timid to push the envelope a little bit.”

A commercial and editorial photographer with an enviable resume, King seems to have undertaken this project in some degree to coax the young artistic community out of its shell—to tell them that it’s okay to take risks, to march to their own beat.

A merchandising major raised in Alexandria, Va., King attended the Fashion Institute of Technology in New York City and landed a job with the now defunct Hecht’s department store chain. Unhappy as an assistant buyer, she applied for an opening in the photo studio for “an all around assistant—to the producer, stylist, whoever—and started hands-on assisting the fashion photographer for about a year.”

Quickly promoted to fashion producer, her new position found her scouting locations, booking models and crew, setting up shooting schedules, budgets, and everything in between—in effect, supplying her with all the tools she would later employ with Renegade DC.

When Hecht’s merged with Macy’s in 2006, she decided to get back into photography and began working freelance. “My business built as a word of mouth kind of thing,” she said. “I’ve been working freelance for about five years now, all in DC.”

Eventually she got into editorial work with some major local magazines and was hired for fashion editorial shoots by many of the major magazines, including Washington Life. “It’s still more on the safer side,” King says. “And as an artist, it can get a little frustrating, having to do everything the client wants. And so some of the reason we started Renegade DC is because we didn’t want to be told what to do anymore—at least for this project.”

When she talks about Renegade, Jodi says “we,” never “I”—she adores the collective nature of the project, and her team is an invaluable component to its realization. She has been working with Tyler Larish, her Renegade partner and a by-day hair stylist, on editorial shoots around DC for a number of years. “We started working together a lot,” she says, “and had all these discussions about how work in DC goes in this industry. The conversation drifted to how we wanted to push the envelope around here. We decided we wanted to do something that excited us and utilized our creativity. Stuff that we want to do.”

Being in Washington, they decided to use its nationally recognized landmarks and tourist attractions as the backdrop for their creative energies, reinterpreting the significance of these cultural markers and reinvigorating their relevance through a prism of contemporary language and expression.

With Renegade DC, King and Larish have employed members of the DC arts community and produced an invigorating perspective of our nation’s capital. It is a blend of architecture, landscape and fashion, placing models and performers in specific historic environments to create daring, fun and imaginative scenarios that do not conform to conventional expectations. Among the locations Renegade has enlisted are the Washington Monument, The National Cathedral, The Korean War Memorial, Ben’s Chili Bowl and the Wonder Bread Factory.

But don’t expect these to be your standard tourist snapshots—these photographs look like alternative realities of Washington, ala Planet of the Apes, a Humphrey Bogart flick or a psychedelic post-apocalypse. You might have trouble recognizing the locations at all.

A lesbian Goth wedding outside the Cathedral. The DC Rollergirls taking over the roundabout in front of the Capital. The Baltimore Aerial Dancers defying gravity outside the Wonder Bread Factory. Dancers from the Washington Ballet adrift amidst billows of cherry blossoms.

“We had about 15 locations over the last two years,” King says. “We wanted to do something with each location that brought it out in a unique way. Some are straightforward beauty, like a fashion story. Others are quirky, a little bit strange.”

“Tyler comes up with things so outrageous that it’s almost foolish,” she laughs. “And I would scale it to fit a fashion-oriented concept. For instance, he came up with Muscle Beach on the National Mall, and I produced a very vintage, retro body builder -type image. We wanted each picture to tell a story with a concept that went along with each location.”

Of course, it was a slow process because of all the preliminary work that had to be done. First, King and Larish would mock up inspiration sheets, figuring out makeup and wardrobe. Then they would book the models, “or whoever we could think of to fit the characters—friends, family, even each other. It really became more about the characters we were creating than anything else.”

King and her team would go to the location, do a quick test shoot to figure out the physical positioning of the models, and then rehearse and choreograph it in King’s apartment. With the scene in their minds, they ran up to the location of each shoot—literally—and shot pictures quick as bandits.

The children in the Korean War shoot had to hop a fence to get in among the statues. “They stepped over the gate, just enough to get them in the scene,” says King with an air of caution. Despite the ‘outlaw’ nature of the shoots, King does not disrespect the locations where she works. “I looked online, and tourists hop that fence all the time for photos. Just Google it. I didn’t do anything that everyone wasn’t already doing—I just did it with costumes and makeup.”

“Everyone volunteered,” says King of the project. “We had virtually no budget. We had to make our own props, and we had food and beverages for our team, but that was the only thing we put real money into. Everyone who worked with us just wanted to be involved. I think that fresh, penniless mentality really turned the project into something special—we were focused on the art, not the job.”

To exhibit the Renegade DC portfolio, King found a perfect collaborator in Theo Adamstein, founder and executive director of Foto DC, a nonprofit organization whose mission is to make photography accessible to audiences through provocative and inspiring exhibitions and collaborations with the local and international community (which is just the icing on the cake of a ridiculously cool guy with a hell of a fascinating resume).

King already knew Adamstein, and when she approached him about showing the work—and showed him some of it—he jumped at the prospect of exhibiting it. “But this show is off the record,” King clarifies. “This really isn’t a Foto DC event. Theo is more supporting us as a friend by letting us use his space. And we seriously appreciate it.”

For the future of Renegade, King has some big thoughts. “We were thinking we really love this so much, we might take it on the road, sort of see where it goes. We’re really open with it. Obviously, New York City would be a clear next step, because there’s so much there. Tyler and I also had the idea to do all 50 states, and hit one major landmark within each capital or major city. Vegas might be fun. But imagine what we would do in Fargo…whatever it is, it would probably be awesome.”

Any place that keeps the Renegade saga going is where King wants to take the project, as long as it stays true to her original message of creativity and cultural expression. “Wherever there is a story to be told,” says King, “we’ll be there.”

Renegade DC will be available for viewing Thursday, May 10 from 7–10pm, at Foto DC’s FotoSpace, 1838 Columbia Rd., NW.

Event Features Full Renegade Cocktails by Atlantico Rum, Sounds by DJ Keenan Orr, Napoleon noshes, and after party sounds by DJ Adrian Loving.

For more information, email Jodi King at JRKingPhoto@gmail.com.

[gallery ids="100780,123738,123698,123733,123705,123727,123713,123721" nav="thumbs"]

The Art of Japan At The Textile Museum and the National Gallery
• May 3, 2012

When taking on the art of an unfamiliar cultural tradition, it’s difficult to know where to start. There are immediately questions—namely, Do I understand what I am looking at? The aesthetic terrain, symbolism and subject matter are foreign, often incongruous to our own knowledge. For instance, as far as everyone in America and Europe is concerned, a hexagram is synonymous with the Star of David (the Jewish Star). However, in ancient Indic lore, the hexagram was a symbol of creation, the overlapping triangles representing “the divine union of male and female.”

When dealing with a culture as deeply rooted, multifaceted and intricate as Japan’s, there is almost no way to take it all in. Japan has a cultural and religious system of symbols and an artistic tradition as unique and fascinating as any in the world, and to know it would require years of time and effort. However, in the same way Picasso found revelation in African tribal masks for their raw aesthetic radiance, it is sometimes enough to admire the beauty and facility of cross-cultural artisanship.

Right now, The Textile Museum and the National Gallery of Art are hosting monumental exhibits of Japanese art, both of which expose the sheer beauty of the country’s sophisticated craft and artistic traditions.

The Textile Museum’s “Woven Treasures of Japan’s Tawaraya Workshop” (Mar. 23 – Aug. 12) display the Japanese textile traditions of the Tawaraya, a still-operational silk workshop over 500 years old, that has woven fine silk garments for the Imperial Household for centuries. The National Gallery’s “Japanese Bird-and-Flower Paintings by It? Jakuch? (1716 – 1800),” on view only through the end of the month, exhibit Jakuch?’s thirty-scroll series of nature and wildlife, proving him to be an unprecedented innovator in style, technique and aesthetic. Both exhibits are a master class in composition, color and design, and both beg to be viewed live. In photographs they are impressive, but in person they are breathtaking.

(It must also be noted that the Sackler Gallery, on the National Mall, is hosting an overwhelming exhibit of printmaker Katsushika Hokusai (1760–1849), perhaps the most acclaimed artist in Japanese history, titled “Thirty-six Views of Mount Fuji.” However, this exhibit demands coverage all its own, and thus is not included in this article.)

Based in Kyoto, Japan, the Tawaraya silk workshop is perhaps the oldest and most illustrious workshop in the country. While popular among the public for producing fabrics used in traditional theatrical costumes, Tawaraya is renowned for their production of yusoku orimono—garments of fine silks in patterns, weaves and color combinations traditionally reserved for the Japanese Imperial Household. On display in The Textile Museum, they read like an installation work, speaking of harmony, balance and serenity.

In a peculiar way, they are reminiscent of Sam Gilliam’s hanging fabric installation at The Phillips Collection, which closed almost a year ago. The Japanese fabrics of vibrant and subtle colors and ancient symbols, whose aesthetic is rooted in a centuries-old practice, become suddenly and hugely contemporary. This is a little ironic, as the man behind Tawaraya’s operations today, Hyoji Kitagawa, is the 18th-generation successor of this family-run workshop, who has painstakingly maintained silk weaving techniques passed down over a millennia, right down to dye recipes from the tenth century.

One remarkable aspect of these designs is the length that is taken in pursuit of subtlety and understatement. Where it is more familiar in the Western tradition for the elite to be wearing louder, flashier clothing, in Japanese aristocracy it would seem that bold symbols and wild colors are considered crass and unsophisticated. The Emperor’s yusoku orimono is composed of but pristine white and earthy brown ochre silks.

The patterns and symbols are similarly more nuanced. On the garments of a regular citizen, the symbol of a tortoise—which represents long life—would likely be a large, obvious and rather literal interpretation. On a yusoku orimono, the creature is represented by a pattern of hexagonal blocks, each one an individual shell, that stretch monochromatically across the silk. You will see cherry blossoms, cranes, pine trees, phoenix, bamboo and butterflies, each of which carry their own meaning and significance, but all of which are independently beautiful.

These symbols carry over to the National Gallery, where the 30 scrolls of 18th century Japanese painter Jakuch? might actually bowl you over. The expansive scrolls are intricate and effusive: a pair of chickens embroiled in a dynamic mating dance, feathers ruffled in exacting detail and eyes wild among a craggy hibiscus plant; an adumbrated landscape of seashells, crabs and starfish on the ocean’s floor; a wild goose in the reeds, hurtling toward a pond’s icy surface; a rooster amidst a plant of small, piercing red nandina berries. Yet within the paintings there is a fluidity of composition, a pristine sense of geometry and an unquantifiable harmony of color that link them to the same tradition as the Tawaraya silks.

Both offer an otherworldly glimpse of tradition, discipline and aesthetic near-perfection. The Japanese history is rich in artistic life, and Washington is lucky to have such resplendent exhibitions of their works to appreciate and compare.

For more information on “Woven Treasures of Japan’s Tawaraya Workshop,” on view through Aug. 12, visit www.TextileMuseum.org. For information on “Colorful Realm: Japanese Bird-and-Flower Paintings It? Jakuch?,” on view through April 29, visit www.nga.gov. [gallery ids="100740,121552,121541,121549" nav="thumbs"]

Mount Fuji’s Fleeting Immortality
•

The epoch of ukioy-e encapsulates the final phase of traditional Japanese history and a time of flourishing cultural arts from about 1600 through the 1860s. Due to the country’s policy of national seclusion (starting in the 1630s for fear of the impact of European colonial expansion on native culture), Japan was a world almost entirely unseen by foreign eyes until the late 19th century.

During this period of isolation, Japanese art acquired a singular character with few external influences. The style of ukiyo-e, which means “pictures of the floating world,” blended the realistic narratives of ancient picture scrolls with inspiration from the decorative arts and observation of nature. When these artistic traditions finally reached Europe and North America, their radical approaches to space, color and subject matter shook the Western tradition, revitalizing graphic design and penetrating the consciousness of painters from Monet to van Gogh.

Katsushika Hokusai (1760 – 1849), the ukiyo-e’s most prolific and renowned artist, produced an estimated 35,000 works during seven decades of ceaseless artistic creation. His images have matured into icons of world art, most famously his woodblock prints of Mount Fuji and its relationship with the surrounding villages and countryside. At the Sackler Gallery through June 17, “Thirty-six Views of Mount Fuji” exhibits the full collection of Hokusai’s original prints, showcasing the intricate beauty, intimacy and grandiosity of these masterworks. They will leave you swooning and weak in the knees, enraptured by their ephemeral delicacy like a cherry blossom’s silky petals caught in spring’s first light.

Mount Fuji occupies a special place in Japanese culture. The ancient Japanese were sun worshipers and in the bustling city of Edo (modern Tokyo), this 12,000-foot volcano, resting like a lazy giant in the distant landscape, was the first piece of earth to catch light from the rising sun. A lifetime resident of Edo, Hokusai was intimately familiar with Mount Fuji’s snowcapped crest when he finally immortalized it in his print series at the age of seventy.

As a teenager, Hokusai apprenticed with a woodblock engraver, but quickly shifted his efforts to drawing and painting. Like most ukiyo-e artists, his career began as an illustrator for yellowbacks—cheap novelettes named for the color of their covers—before moving into illustrations for the major novelists of the day.

Hokusai’s work spanned the gamut of ukiyo-e subjects: album prints, genre scenes, historical events, landscape series, paintings on silk and privately commissioned prints for special occasions called surimono. Well regarded throughout Japan, his model books for amateur artists were very popular, as were his caricatures of occupations, customs and social behavior. From age twenty until the year of his death, Hokusai illustrated over 270 titles, including several books of his own art.

“But nothing I did before the age of seventy was worthy of attention,” said Hokusai, who envisioned his artistry maturing well past his centennial. Indeed, in the last two decades of his life Hokusai produced his finest work, unrivaled within the genre as the apex of the ukiyo-e tradition.

What Hokusai manages to capture in these prints precedes Impressionism in capturing the fleeting wonder of natural phenomena, realizing the texture and mood of atmosphere, seasonality, temperature and light. (It’s worth noting that Hokusai was actually rather familiar with European and Chinese art when he made these prints, as his country had by then opened international trade relations in some capacity, allowing glimpses of foreign artistic traditions.) In studying the mountain and its relationship to the surrounding world, Hokusai shows us the serenity and violence, the danger, mystery and allure of our natural world.

Perhaps another aspect of Hokusai’s genius was in bringing the tonal reservation and transient effusiveness of painting together with the bold, clean linear image-making and stark visual clarity of prints. The prints perfectly depict the external appearances of nature and symbolically interpret the vital energy forces found in the sea, wind and clouds.

In “The Waterwheel at Onden” and “In the Mountains of Totomi Province,” the sinewy legs and worn bodies of the laborers give way to serene facial expressions, a common thread throughout the series, as if the physical burden of the land is but an inevitable accessory to the life it sustains. The agonizing labor plainly and literally depicted, inconceivable in the reality of its strenuousness, goes almost unnoticed in the works’ overwhelming peace and inner beauty.

This cosmic push-pull between man and the larger forces of nature is fully realized in the breathtaking “Kajikazawa in Kai Province,” where a fisherman stands dwarfed atop a craggy rock jutting out from a violent sea, his fishing lines taut against the ocean’s current and caught in a heavy fog from which Mount Fuji barely emerges in the background.

One of the show’s last prints, “Sunset on Ryogoku Bridge,” shows a pale grey sky, with the wine-hued boldness of an unseen sun saturating the Prussian blue waters and glowing green bridge. Mount Fuji hovers like a deep, luminescent shadow behind a cluster of dim houses. An old man stands in his boat, leaning on his oar and staring at the distant mountain, as if overwhelmed by the site. It is a beauty he cannot resist. It is also a feeling that viewers can associate with: a sense of floating in time, in a reality beyond what we see before us.

Above all, Hokusai’s prints are studies in reservation, balance and ritual, mirroring the sentiments of his culture in his ceaseless, patient pursuit of Mount Fuji. The confluence of life, labor and the natural world press on, immortal but impermanent, much like the woodblock engravings from which the prints were forged, worn down with each unforgettable printing until its sharp-edged clarity vanished into but a vague impression of its past self.

“Thirty-six Views of Mount Fuji” is on view at the Sackler Gallery through June 17. For more information visit Asia.SI.edu. [gallery ids="102450,121126,121120" nav="thumbs"]

National Gallery Opens Landmark Exhibits
•

Lions and tigers and bears, oh my. Come January 29, there will be a similar song to sing at the National Gallery of Art: Picasso and Castiglione and the newly renovated French Galleries, oh me, oh my.

A rich time machine and evidential exhibition explores and nails down Pablo Picasso’s reputation as the greatest draftsman of the 20th Century in “Picasso’s Drawings, 1890-1921: Reinventing Tradition,” an exhibition of some 60 works, spanning the first 30 years of his career riding straight to the doorsteps of impending legend-hood.

In “The Baroque Genius of Giovanni Benedetto Castiglione,” lies an exploration of sources and influences, in the varied, kinetic exhibition with 80 works culled from the galleries extensive holdings of works by the Italian master, that also includes works by contemporaries and followers.

There is no title for the newly renovated and installed French Galleries, the culmination of a two-year project that enriches, rearranges and creates dialogue among the Gallery’s nearly 400 impressionist and post-impressionist holdings. “Greatest Hits” surely would not do, but the fact that the collection in the West Building’s second floor now carries with it a kind of path of themes, stories, and regularly spaced explosions of recognized and acknowledged masterpieces seems to demand a worthy title.

There is no connection among the two exhibitions and the reopening of the French galleries, although Picasso, among many, is a strong presence there—he is at once the Jesus and John the Baptist of modernism, after all. And you could easily plug in the energetic lines and brushstrokes present in almost all of Castiglione’s work to Picasso’s drawings to ignite a spark.

The boy genius is very much evident in the Picasso exhibition, as is the man who, if he did not entirely invent cubism, surely gave it a good kick into the stratosphere. It’s an interesting process to watch, from the perfectly and finely rendered work of an 11-year-old child to the cubist works where he swims like a fish on fire. There are many nudes and near classical drawings of women here that, whatever and whomever the drawing are about, are always at least a little (and often very) sexually charged. Picasso—with a reputation that might explain a lot—could manage the not-so-easy task of creating allure and sex appeal in a cubist woman, fully twisted in negligee and disquietingly recognizable nightwear, replete with all their jagged, ragged edges.

Picasso’s early lines—a bust infused with the classics surely remembered from his studies, a restrained portrait of a woman—are clean, and never quite without emotion. See the son and father self-portrait, and then a father rendered by the son. You will see the connection.

Giovanni Benedetto Castiglione lived through the better part of the 1600s and included among his sources Rembrandt’s religious works. Seen side by side, you can easily see the connection. But he was also a source of inspiration for later artists, most notably Tiepolo and the still later French painter Antoine Watteau.

He belongs in the baroque, in terms of a recognizable genre and style, and his themes and subjects are like that of his contemporaries, religious and familiar: The Adoration, The Gifts of the Magi, the Crucifixion, and nativities of all sorts. But there’s a difference beyond categorization. Castiglione’s works are never still, not even perhaps when they should be. There’s an electric current running through them—shepherds leaning to get a better look, figures stretching, on the move, necks craning, in scenes that are essentially moments of peace.

What is there to say about the French galleries? That you will be overwhelmed, awed, delighted or turned on? That you will be returning again and again, and so will everyone else? These artists speak to us, surely, but they speak to each other, too. In the gallery live Van Gogh, Gauguin and late Degas works, the one intense, the other pushy and Degas quietly off to the side, away from the noisy brawl.

There are so many paintings here that are almost cliché at this point: Renoir’s blue girl, the harlequins of Picasso. It’s almost as if you shouldn’t love them so much and move on to something important like the Oscar nominations. But they draw you in—Van Gogh’s self portrait, Renoir’s cityscapes, like Point Neuf paired with the Pont des Arts.

In many ways, the renovation is an exhibition, about the trip from the classics to the impressionists to the post-impressionists. It’s about stunning landscapes in the early days. It’s about women, most definitely. It is why, with every new movement in the fine art world, with every infatuation with the next big thing, we always come back here.

Many of the works in the galleries were on view while the work of restoration went on over the past two years in the West Wing, in the exhibition, “From Impressionism to Modernism: The Chester Dale Collection.” That installation was easily the best exhibition in Washington for the past two years.

In the French Galleries, it’s Degas, Monet, Manet and Matisse, oh my. And all the rest, oh my, oh my.

For more information visit NGA.gov.
[gallery ids="100468,115893,115890,115884,115887" nav="thumbs"]

Faces of the Nation: Politics in Art
•

History surrounds us in Washington, politics is the humidity of our daily lives as much as suffocating temperatures and the news—intimate, immediate, profoundly affecting—sit beside us at breakfast, lunch and dinner.

History, politics and the news are a part of the culture of the city as an atmosphere, and in actuality. All three are still on hand even as the tumult and shouting dies down only in degrees after the narrow avoidance of a U.S. debt default.

The divisions—deeply felt and deeply expressed, stringent and strident—which helped propel the crisis right to edge of a chasm, the politics that dictated the news and the horrific historic moment at hand could be seen quite literally in three different exhibitions which explore the historic, political and news-driven immediacy which is as much a part of our cultural existence as the neighborhoods where we sleep and live.

No one kept track, but it’s fair to think that Ronald Reagan’s name was invoked at least hundreds of times during the noisy debates, the constant press conferences, the news stories and blogs, more often than not by the Tea Party members who had taken his “small government” message to heart. Reagan, perhaps in ways not intended, was a source of inspiration during the debate that drove the debt ceiling crisis.

At the National Portrait Gallery, Ronald Reagan’s remarkable life and continuing legacy is being celebrated in the NPG’s marvelous one-room examination and exhibition “One Life: Ronald Reagan,” offering small clues about a larger-than-life persona.

On the flip side, the faces of the other contending political forces in the great national chasm can be seen up close and artistically, glowing with a certain kind of humanity, in the exhibition “Democratic Principles” at the Women’s National Democratic Club in Dupont Circle, a selection of 22 paintings of progressive political leaders.

The debt ceiling crisis was recorded with stark immediacy not only by the television and news writers but by press photographers, and some of their efforts (maybe the round of golf between POTUS and Boehner) will surely make their way into the next White House News Photographers Association annual “Eyes of History” show. You can see last year’s best of the best—a powerful mesh and mash of national, political and world news photography—at Pepco’s downtown Edison Place Gallery through Aug. 12.

During the debt ceiling battle, you might have thought that Reagan was the founder of the Tea Party, so often was his guiding principle of small government invoked. If you take a look around at the “One Life” exhibition, you’ll find he was much more than that, and not quite that, either. He had qualities, not just conservative principles, to commend him to the American public, a persona that projected strength and optimism that was part movie imagery, part down-to-earth-reality.

The exhibition shows his roots in small-town America in Illinois, his days as a radio sports caster in Des Moines, his years as a Hollywood actor of considerable renown, if not top-drawer star wattage, his days working for General Electric as a speaker and television host and his improbable second life as a master politician who won two terms as governor of California and President of the United States.

The imagery in this exhibition defines the man’s popularity, the way others saw him and to a great degree admired him once he entered the political arena. Look at some of the photographs here—Aaron Shikler’s Time Magazine painting of Reagan in an unbuttoned shirt and a big belt buckle, his hands in back pockets. Or a photo of Reagan doing some budget jawboning with then House Speaker Tip O’Neill, a classic portrait of two Irish-American polls—you see his self-evident charm and strength. Nowhere do you see, in the numerous photographs, paintings and portraits, an ounce of self-doubt.

This is the Reagan people will remember—you won’t find much of the contentiousness, the Iran Gate, the lack of empathy for America’s unfortunates here. This is the star wars, anti-Communist, “tear down the wall” warrior, the mourner in chief after the Challenger crash, the morning-in-America celebrator.

“One Life,” when it comes to most of its subjects, is celebratory in nature, and with Reagan, there’s no exception. It’s the public man on display, his sunny appeal that comes through; including his view that big government was the bane of American political life.

But perhaps the biggest thing—a certain kind of class that transcended politics and ideology—on display here is the handwritten letter to the American public in 1994 announcing that he had been diagnosed with Alzheimer’s at age 83. It was full of hope and buoyancy, without an ounce of self-pity, the kind of language and attitude that helped propel him to so much political success and the status of icon. (“One Life: Ronald Reagan” continues through May 28, 2012.)

There are also some icons on display in the “Democratic Principles” exhibition of paintings by Elizabeth McClancy, which focus on progressive leaders known for their support and defense of causes, groups and people in need of political defenders and supporters. Many of them are elected members of the U.S. Senate, one or two are legends, some are no longer with us, and one of them is the President of the United States.

The politics in this case are less interesting than the portraits which seem to define, in one painting, the essence of the subject. It’s a telling exhibition of faces of not only of Barack Obama, but the Lion of the Senate, Ted Kennedy, whom it is difficult not to imagine as a ghost on the Senate floor during the contentious debt debate. It includes former Secretary of State Madelaine Albright and the current Secretary of State Hilary Clinton and her husband, former President of the United States Bill Clinton, as well as current partisan battlers like Kerry, Leahy, Mikulski, Pelosi, Schumer and Boxer.

Given the astonishing amount of natural disasters, big news stories and political conflict and controversy that have taken place more than halfway into 2011, it’s difficult to look at the photographs in the “Eyes of History” exhibition without thinking of them as a piece of history, far removed from last week’s or next week’s turmoil, the next story, the next flood, the next Wall Street free fall.

Except, of course, that they’re not. Look at the series on American soldiers recovering from traumatic wounds and you can hear the mortars, the rapid fire in the mountains of Afghanistan. Look at the triumphant, then wan face of the president and it feels as if you’ve seen it just a moment ago, with more grey hair. Look at the angry and worried faces of people out of work, trying to get by and feed their families and you see not months ago, but now. The dramatic scenes of the Haitian earthquake still leaves footprints and is repeated in other disasters—the faces of the starving children of Somalia will surely be a part of the next “Eyes of History” gathering of photographs. [gallery ids="100266,107025,107022,107019" nav="thumbs"]

Fall Visual Art Preview 2011
•

The visual arts are the quiet arts, the arts of contemplation, the finished art.

When we see a painting in a gallery or a museum, a sculpture in a garden or a vast lawn, an installation wherever it’s installed, the artist is gone, finished and done, dead or alive. The visual arts are about viewing and taking it in, seeing, believing and feeling. We derive meaning from not just the work but from our own lives. In visual arts, the unfinished part of the painting is what we bring to it.
And what we bring to art varies from setting to setting, viewing to viewing, person to person; it’s as if a painting wiggled under the glare of a thousand stares and eyes. This is possibly why people buy art—ownership keeps out the democratic eyes of public spaces, making the work rare.

A Rembrandt on a wall by a staircase in a home is a little like a love song sung to no one in a forest. It is almost invisible, except for the owner and his visitors. A museum opens up the process, finishes it or keeps it going. Contemplation ensues, to be sure, but so does conversation and argument, the murmur of more than one presence.

Nothing proves the case more than a visit to the Louvre in Paris and the room housing the Mona Lisa. Hordes of tourists, sometimes the size of an entire residential block of Beijing, surround the rope that avoids close contact. Something happens to the Mona Lisa in this setting, it becomes both less and more mysterious—it sways with a certain imperiousness, but it also gets cut down to size among these multitudes.

Exhibitions at museums—and individual works at museums—alter the equations of visual arts. Museums in America exist at the pleasure of boards, regents, overseers, budget minders, and the trailing ends of the artistic process, the critics, scholars, historians and cultural observers. But most obviously, they exist for and at the mercy of people who come to museums to see paintings, drawings, sculptures and installations.

Visitors change museums as well as art and how we look at it. You can make yourself feel small at a museum, but you are never alone – unless they’ve locked you in. Your friends and neighbors and fellow citizens from all over the country and the world are here in these galleries, standing right next to the Rembrandt self portrait, sometimes posing, at other times puzzling over Pollock just like you did before you got smart and knowing and saw the Ed Harris movie.

In exhibitions, juxtapositions, like the wall descriptions, are important. It’s when you begin to realize the varieties of great art and how sometimes, some art is not so great when looked at from here and there, from far and close and next to other art. The National Gallery once had a show of two great German artists. One was Kate Kollwitz, the great, powerful maker of art, often in bold strokes and hammerings of chalk and black pencil, which cried out for justice in depictions of starving children, dying soldiers, striking miners and rageful peasants. Her work demanded, screamed for humanity. She lived to a ripe old age and died at the end of the Third Reich, and posters made from her work have often been seen at riots and demonstrations for social justice. She was juxtaposed with a small exhibition of Ludwig Kirchner – big, bold paintings of prostitutes, dancers and cabaret singers, the night life of Berlin. The works were musical, almost, full of gusto and energy and life. But Kirchner was also a German Jew who ended up committing suicide as Hitler’s Reich was picking up speed. Who’s the more life affirming in such a context?

I mention this because of the richness of museums in Washington and the regularities of exhibitions at the museums which freshen up the holdings and permanent collections like sparkling water in an exquisite garden. Exhibitions are the creations not only of the artists but the curators who set them in settings and create new ways of looking at old work. The works of old and new masters and reputations, whether belonging to Degas or Warhol, sometimes are restored, not by restorers, but by fresh eyes and different context so they can come to live again under the gaze of their admirers.

For the first installment of our fall visual arts prevue, we give you a quick look at exhibitions and events coming to a Washington museum.

ANDY (WARHOL) IS STILL DANDY

Nobody, certainly not Warhol himself, ever claimed that Andy Warhol had the gifts of a Picasso, a Da Vinci, a Renoir, or even a Rothko.

But there’s also no question that Warhol was one of the most influential artists of the latter part of the last century and into this one. He may not have been the best draughtsman ever or the most gifted painter, but he had his pale, white finger on the zeitgeist. If Warhol didn’t invent pop culture, he sold and marketed it like no artist before, during and since. Warhol made silk screens of money and Monroe and Jackie and Elvis and soup cans, making Lichtenstein’s pop art comic blowups and “pows” palatable and hot. Warhol hooked up low/high art to commerce, ignited America’s still-flaming worship of celebrity by turning it into an aspiration; Kim Kardsashian and Snookie are his illegitimate cultural children. I recall a fairly comprehensive Warhol exhibition at the Corcoran a number of years ago sponsored by PNC Bank with the CEO speaking in front of blowups of Warhol’s Ben Franklins, saying “I always wanted to stand in front of one of those marking the marriage of marketing, money and Warhol.”

He’s still with us, pale and glowing even in death. The National Gallery of Art is hosting the first exhibition examining Warhol’s works centered around news headlines appropriately entitled “Warhol: Headlines” (Sept. 25 though Jan. 2). The Hirshhorn Museum and Sculpture Garden is also touching base with Warhol with an exhibition of 102 silkscreened and hand-painted canvases of distorted images of shadows created in his studio (Sept. 25 through Jan. 15).

“Shadows” will be unique and big—the works are edge-to-edge and will extend 450 feet around the curved Hirschhorn galleries. The “Headlines” show is no small thing either—some 80 paintings and drawings, photographs, prints, film and video works all based on Enquirer-like headlines. The pieces are dovetailed with Warhol’s obsession with the sensational or trivial-made-sensational side of news running from news of Princess Margaret’s baby, to Eddie Fisher’s breakdown to plane crashes, all grist for Warhol’s star-grinding mill. It was Warhol who said that everyone would be famous for 15 minutes during their lives—which means the Kardashians are way overdue to crash into obscurity.

The two exhibitions follow a successful run of the musical “Pop” at the Studio Theater located brashly in Warhol’s factory where outrageous things happened, including the near-assassination of Warhol.

DEGAS AND MARIONI AT THE PHILLIPS COLLECTION

You may not be able to make a direct connection between the legendary French impressionist painter Edgar Degas and modernist Joseph Marioni except that Duncan Phillips, the founder of the Philips Collection, liked them both, and in its 90th anniversary year, the gallery is doing both proud.
The Phillips has Degas’ famed “Dancers at the Barre,” highlighting the painters obsession with ballet to the gratitude of the art world, and has built an exhibition around that obsession with “Dancers at the Barre: Point and Counterpoint” (Oct. 1 through Jan. 8).

The exhibition features drawings, studies and related work and was sparked by a careful attempt at correcting time-caused aging in the “Barre” painting. The result is an exhibition that renews interest in the Degas-Phillips connection and Degas’ great and shining works—paintings sculptures and drawings—on the theme of ballet the first major exhibition in 25 years on the subject.

Acclaimed modernist Joseph Marioni will have 15 recent, glowing, monochrome paintings on display at the Phillips (Oct. 20 through Jan. 29), alongside the artist’s existing 30 works from the museum collection.

30 AMERICANS AT THE CORCORAN

In a kind of artistic echo of the completion and opening of the Martin Luther King Jr. memorial, the Corcoran Gallery of Art is featuring several exhibitions on the theme of race and ethnicity. Chief among them is “30 Americans” (Oct. 1 through Feb. 12), a major survey of works by a number of the most important, established and young African-American contemporary artists of the last three decades.

The exhibition includes works by Nina Chanel Abney, Leonardo Drew, Renee Green, Nick Cave, Kalup Linzy, Jeff Sonhouse and Purvis Young among a large group of artists. Sarah Newman, the curator of Contemporary Art at the Corcoran said that the exhibition explores “how each artist reckons with the notion of identity in America, navigating such concerns as the struggle for civil rights , sexuality, popular culture and media imagery.”

Also on tap are “Strange Fruit,” an exhibition of some 15 new photographs and video works by Hank Willis Thomas, exploring how spectacle and display relate to African American identity (Oct. 1 through Jan. 16); and “Gordon Parks: Photographs from the Collection,” an exhibition of photo essays on civil rights from the Corcoran Collection (Oct. 1 through Jan. 16).

MORE AT THE NGA

Some of the finest Gothic-era tapestries in the world will be on display at the National Gallery of Art.
“The Invention of Glory: Afonso V and the Pastrana Tapestries” will feature four recently restored monumental tapestries which commemorate the conquest of four cities in Morocco by Afonso V of Portugal. (Sept. 18 through Jan. 8).

On a very different note separated by a number of centuries will be “Harry Callahan at 100,” an exhibition of some 100 photographs on the noted photographer’s centenary of his birth. (Oct. 2 through March 4).

The show will reach across Callahan’s innovative, elegant photographic career from his days in Detroit, Chicago and Atlanta.

WPA’S OPTIONS 2011

The Washington Project for the Arts will present “Options 2011,” the 14th installment of its biennial exhibition of works by emerging and unrepresented artists from Washington, D.C., Maryland and Virginia (Sept. 15 through Oct. 19 at 629 New York Ave., 2nd floor).
[gallery ids="100268,107024,107026" nav="thumbs"]

Fall Performance Art Preview 2011
•

When Arena Stage brought back its hugely successful season and theater opening production of the very-much-a-staple Rodger Hammerstein musical “Oklahoma” for a late summer run, the theater community stood up and took notice.

Theater folks noticed too that Woolly Mammoth had also done a similar thing bringing back its production of Bruce Norris’s Pulitzer-Prize winning “Clybourne Park” to record-breaking (for Woolly) box office success. Both productions brought back original casts and energized productions. People saw a trend.

In truth, while innovative and smart marketing and scheduling strategies may have been at work, what happened wasn’t really new. Arena Stage, in fact, had been doing a similar thing with productions of “Crowns,” the popular musical about the importance of hats in the lives of African American women.

In theater, in fact, the adage that “everything old is new again” is the life blood, the bread and butter, the staple of theater world. What Arena and Woolly did was to bring back almost identical versions of the plays they had already done, thinking correctly that a larger audience as well as a repeat audience remained for the two plays. They were right. But theater exists on reviving, re-doing, and returning to a repertoire of plays and musicals that make up the core of what theater does on Broadway, in regional companies, in dinner theaters, amateur companies, high school and college. Road companies of big hit Broadway musicals are hugely profitable, same-version, different casts of eagerly awaited shows.

The staple of classic and therefore “old” theater literature are revisited time and time again over the centuries and decades—that’s why we have theater companies whose repertoire is rooted in Shakespeare, Shaw, the Greeks and American classics by O’Neill, Miller and others.

The reliance on the old and familiar—along with revisits that cast fresh light on the old plays—make new plays all the more thrilling because we don’t know how the story ends, what the characters will say or do, and we haven’t heard the songs by new composers and lyricists sung and played. This mix and mash of old and new is the heart of theater—we find surprises in the way an actor might play Hamlet—in fact hope for it—and are surprised how familiar and close to our lives the work of a new playwright is.

Every theater season begins with those anticipations of the familiar, the hope for surprise and connection and, of course, all of it accompanied by the possibility of awe and wonder, of moments in the dark that will lie in our memories like special dreams, the come-and-go moments for which, as I’ve noted elsewhere, there is no app.

The season kicks off with a hefty mix of old and new. Here, with some things to look forward and backward to.

SILENT SHAKESPEARE AT SYNETIC

Synetic Theatre, headed by the dynamic husband-wife team of Paata and Irina Tsikurishvili from the Republic of Georgia, has become and always was just about the most innovative, beyond-category theater company in the Washington area.

Whether performing at its original Church Street locale, at the Kennedy Center, in Shirlington or its new digs in Crystal City, the company has propelled a mix of mime, choreographed movement and spectacle to create its own kind of (classical, but silent) theater, borrowing its subjects from sources that include classic Russian literature, Dante, Cervantes and Shakespeare.

Its productions have reaped dozens of Helen Hayes Awards and almost instantaneous and consistent critical acclaim. Synetic’s form of theater is new, but its base subject is classical theater, minus the words. This brings new meaning to Hamlet’s “The Rest is Silence,” a play Synetic did ALL in silence.
The company is kicking of its 2011-2012 season with three best-of productions under the banner of “Speak No More,” three of its most popular versions of Silent Shakespeare, its 2008 production of “Macbeth” (Sept. 14 through Oct. 2); its 2010 production of “Othello” (Oct. 19 through Nov. 6) and its 2008 production of “Romeo and Juliet” (Nov. 25 through Dec. 23).

Synetic covers the criteria—everything really old is really new again and again—and again.

FRIENDS, WASHINGTONIANS AND COUNTRYMEN : IT’S FREE!

Michael Kahn’s Washington Shakespeare Company is presenting its 21st Annual Free for All. This time “Julius Caesar” is doing the honors and also kicking off the company’s 25th anniversary season.
This Julius is a revival of the critically acclaimed 2007-2008 production and will be performed at Sidney Harman Hall through Sept. 4. The Bard’s best play about politics and ambition echoes mightily, featuring as it does among its main characters honorable Republican senators whose fears of centralized government leads them astray. But that’s just one man’s opinion David Paul directs with a cast led by Aubrey Deeker, Tom Hammond and Tyrone Henderson.

ON THE ROAD AGAIN WITH LES MISERABLES AND THE JERSEY BOYS OR UP THE BARRICADES AND WALK LIKE A MAN

It’s a 25th anniversary for the Cameron McIntosh juggernaut “Les Miserables” and for the occasion there’s a brand new fully-staged production of the legendary Boubil & Schonberg operatic musical which set records in London, on Broadway and in dozens of road companies. The tale of the escaped convict (serving time for stealing a loaf of bread) Jean Valjean and his nemesis the relentless Inspector Javert is epic in scale with soaring songs a plot to fill several books by Victor Hugo and spectacle that stirs the heart and mind, and songs and music that make you want to run to the barricades (or from them, depending). Set in 19th Century France during yet another revolutionary time, the songs include “On My Own,” the stirring “Bring Him Home” and last but not least, “Can You Hear the People Sing.” If you can’t, you need a hearing aid.

It all happens at the Kennedy Center’s Opera House (Sept. 28 through Oct. 30).

If Victor Hugo isn’t your cup of tea, how about them boys from Jersey, as in “The Jersey Boys,” the earthy, hit-rich musical that traces the success, pitfalls, rags-and-juvie-to-riches story of Franki Valli and the Four Seasons, arguably one of America’s biggest rock-pop bands ever, not excluding their peers The Beach Boys.

The hugely popular show returns to the National Theater for quite a long stint and why not. (Nov. 10 through Jan. 7). Walk like a man, my friend.

HOLLY TWYFORD DIRECTS

Holly Twyford is one of the most gifted, eclectic actresses on the Washington theater scene who’s done just about everything except have her own reality show; from Shakespeare to an outrageous Woolly play to a gig as a dancing pig at Adventure Theater, she has plenty to round out her resume. What she hasn’t done is direct, and she’s taking care of that with her directorial debut at No Rules Theater Company, named Outstanding Emerging Theatre Company.

That would appear to be a nice fit for Twyford, who’s always been a little edgy and is now directing Diana Son’s “Stop Kiss,” a play about two women, a scattered New York City traffic reporter and a St. Louis school teacher, who meet and fall in love. “The play chose me,” Twyford said. She had appeared in the play ten years ago. “The play had been special to me when I was in it and to be able to help shape the entire telling of this beautiful story as much as a director can was a chance I couldn’t pass up,” (Sept. 7 through Oct. 2).

HISTORY IN THE MAKING AT SIGNATURE (AGAIN)

Signature, no slouch in the ambition department, will be by all accounts the first theater to present two original world premiere musicals in repertory by presenting “The Hollow,” and “The Boy Detective Fails,” now in prevues.

“The Hollow,” with a book by Hunter Foster and music and lyrics by Matt Conner, is based on the Washington Irving Sleepy Hollow story and features a headless horseman but not Johnny Depp (through Oct. 16, directed by Eric Schaeffer).

“The Boy Detective Fails,” with a book by Joe Meno and Music and Lyrics by Adam Gwon, is about self-styled boy detective Billy Argo, who must face the shocking death of his partner-in-crime-solving and sister. Ten years later, he’s on the case (through Oct. 16, directed by Joe Calarco).

BERNIE MADOFF AT THEATER J

One of the more anticipated plays of the season is coming to Theater J where Bernie Madoff in his new home, a jail cell, will make an appearance in Deb Margolin’s “Imagining Madoff,” a play which posits Madoff setting the record straight and telling the story of an interview with Holocaust survivor, poet and investment client Solomon Galkin.

Bernie Madoff defrauded clients for hundreds of millions of dollars in a vast Ponzi scheme and he didn’t’ quibble, destroying friends, family, charities and celebrities with quiet gusto. Rick Foucheux stars as Madoff, artist-in-residence and Washington favorite Jennifer Mendenhall plays Madoff’s secretary, and Alexandra Aron directs. (Aug. 31 through Sept. 25)

BOOKS BURN AT ROUND HOUSE

Ray Bradbury, now in his 90s and still writing, has often been pigeonholed as a writer of science fiction novels and short stories through his long career (“The Martian Chronicles” “Something Wicked This Way Comes”). But in truth, he’s been much more than that; celebrator of literary favorites, teller of Irish tall tales, and prophet might be good, for starters.

Long ago, he wrote a slim novel imagining a world in which firemen occupied themselves with burning books by state directive because, well, you know, books are dangerous things. (Bradbury did not, however, envision Kindle as far as we know). The book became a haunting, if imperfect, film directed by Francois Trufautt and starring Oscar Werner and Julie Christie. The writing in the book and the images from the film are haunting.

Now Round House Theater in Bethesda is staging Bradbury’s own theatrical adaptation of the novel, a multi-media production incorporating cutting edge video, projection and a sound design created by the Savannah College of Art and Design.

Sharon Ott directs with a cast that includes Katie Atkinson and John Lescault, among others (Sept. 7 through Oct. 9)

A “PARADE” OF A DIFFERENT SORT AT FORD’S THEATRE

The trial and lynching of Leo Frank in early 20th-century Atlanta seems an unlikely subject for a Broadway musical, but the show, with music and lyrics by Jason Robert Brown and with Harold Prince as co-conceiver, won a Tony award for musical drama and is now getting a Washington premiere as a co-production with Theater J.

Frank was a Jewish factory manager who was accused of murdering a teenage girl on the day of the Confederate Memorial Day Parade.

The musical kicks off Ford’s 2011-2012 season and is also the first selection for Ford’s five-year “The Lincoln Legacy Project,” which aims to create a dialogue around the issues of tolerance, equality and acceptance (Sept. 23 through Oct. 30).

MICHAEL KAHN DIRECTS WORLD PREMIERE OF “THE HEIR APPARENT”

It’s not Shakespeare, it’s not even British, but it is old and funny. That would be “The Heir Apparent,” a variation of Jean-Francois Regnard’s 1708 comedy adapted by David Ives. It’s a play with a familiar plot—young swain wants to marry young girl, but needs an inheritance from his uncle who wants to, guess what, marry the young lady herself. Moliere made do with less and more, as did Shakespeare.
Michael Kahn, Washington Shakespeare Company’s Artistic Director for the past 25 years, will direct a cast that will include long-time D.C. favorites Floyd King and Nancy Robinette (Sept. 6 through Oct. 23 at the Lansburgh).

TED, DAVID AND ALLAN AT THE STUDIO THEATER

That would be actor Ted van Griethuysen, just hitting his stride, Studio Theater Artist Director David Muse, hitting his stride in his second year at Studio, and Playwright Alan Bennett, always in stride, whose “The History Boys” received a standout production here several years ago.

Muse is coming off a hugely successful production of “Venus in Fur” for Studio, and seems perfectly suited for Bennett’s brainiac, culture-buff comedy “The Habit of Art,” which includes as characters the British composer Benjamin Britten and poet-as-legend W.H. Auden (opens Sept. 7).

HOWARD SHALWITZ INVITES YOU TO THE WOOLLY APOCOLYPSE

That’s Howard Shalwitz talking about the 2011-2012 season, Woolly’s 32rd on planet Washington. “Join us as we mine our collective visions of apocalypse—and all the drama, jokes, and dreams they inspire.” First episode is “A Bright New Boise” by Samuel D. Hunter, directed by John Vreeke, where someone is summoning the rapture, right in the middle of a parking lot of a mega craft store in Boise, Idaho.

Gotta be there for that (Oct. 10 through Nov. 6).

HERE, THERE AND EVERYWHERE

Caryl Churchill of “Top Girls” fame kicks off the new season for Forum Theatre, now company in residence at the Round House Theatre’s Silver Spring location. Michael Dove directs Churchill’s “Mad Forest” while Rose McConnell, Alexander Strain, Heather Haney and Dana Levanovsky star (Sept. 22 through Oct. 15).

More at the Shakespeare Theatre Company: the musical “Fela!” returns to the United States, telling its tale of the legendary Nigerian musician Fela Kuti. It’s directed and choreographed by Bill T. Jones, kicking off a national tour at Sidney Harman Hall (Sept. 13 through Oct. 9).

“Ay Carmela!,” a U.S. premiere of a play by Spanish playwright Jose Sanchis Sinisterra, will kick off the Gala Hispanic Theatre’s season. It’s a play about the adventures—comic and romantic and dark all at once—about a pair of vaudevillians who find themselves in the midst of the bloody Spanish Civil War (Sept. 15 through Oct. 9).

The National Theater of China will present a production of “Two Dogs’ Opinions on Life,” an improvisational comedy that will be part of the Kennedy Center’s celebration of “China, the Art of a Nation” in September and October. “Two Dogs” will be performed at the Terrace Theater (Sept. 20 and 21 at 7:30 p.m. ). A second theater company, the Beijing People’s Art Theatre will perform “Top Restaurant” about the history of a Peking Roast Duck restaurant over half a century (Sept. 30 and Oct. 1 at 7:30 p.m., October 2 at 1:30 p.m.).
[gallery ids="100269,107035,107031,107029" nav="thumbs"]