Visual Arts

John Blee • July 26, 2011

The best photography show currently running in the DC area is Tom Wolff’s portrait series, at the 39th Street Gallery in Brentwood, Maryland (3901 Rhode Island Ave). Wolff recalls, “The idea of the project was to do a photographic survey of the arts district in Mt. Rainier, North Brentwood, and Hyattsville, focusing on the art community and the business owners. This is an effort to introduce people in the area to one another and build a friend base for the art center. I shot for about two months to get the first 70 portraits and I will continue to add to the group until it closes October 29th.” The excellence and variety of his work astonishes [gallery ids="99201,103431,103428" nav="thumbs"]

Ari Post •

It is rare to find such a steady and yet exciting subject as is found in both the paintings and the person of artist David Richardson. With an astonishing discipline, he has explored and unraveled three series of paintings, any one of them strong enough to exhibit individually. In a roiling assault of nebulous symbols – some seemingly unconscious, some loud and overt – and vast planes of bold colors and textures, his work recalls a landscape both foreign and familiar, contained yet effusive. Richardson’s work seems to be chasing something beyond the artist’s own vision. The revisiting and evolution of repeated shape and composition unfold like chapters of a great novel: questioning, but sure of the direction. His exhibition at the Ralls Collection, running through the end of the year, establishes him firmly in the forefront of abstract painters of the day. The exhibit is one of the highlights of the visual arts season. The Georgetowner sat down to speak with Richardson
about his work.

David Richardson’s exhibit, “Trojan War Years,” is on display at the Ralls Collection from October 6 – December 31. For more information, visit www.RallsCollection.com

Where are you from? How did your upbringing shape your life as a painter?

I’m from Michigan. Most folks think of Detroit when they think of Michigan. That’s not the Michigan I come from. I grew up in a semi-rural environment – a marshland with a river meandering
through it. My brothers and I fished a lot, trapped raccoons and muskrats for their hides and ran the river in canoes camping and shooting guns. It is romantic to me now. It wasn’t then. My mom and older brother painted. My mother was still selling her work and teaching painting in her house when she died last year. Today, my brother lives in Germany, paints and exhibits his work around Europe. As a kid I drew a lot and eventually began painting, following in the footsteps of my mom and older brother. I don’t remember when I first drew or painted. It was early in life. I started college on an art scholarship, but I didn’t much take my own painting seriously until I was twenty-three or so.

Did your experience in the military and combat impact or inspire your work?

Somewhat. Of course travel, particularly to Asia, has had an impact on my work. I’d been to Europe before joining the service, but I went to Asia only because I was sent there. It turned out a good experience. The impetus of all three series the Ralls Collection is showing came while I was overseas.

It gets a little more personal than that, though. During the initial stages of the war, I was left behind teaching at George Washington University. This was somewhat traumatic for me as my closest friends were with combat units and participating in operations in Iraq and Afghanistan. The agony of watching from the sidelines pushed me further into painting. At the time I was working on the early stages of the series based on the Japanese stone markers. I began to title them using characters from Homer’s Iliad. I had that text on hand because I’d refer to it now and then in class. The characters in the Iliad are nuanced and the war brings out the worst and the best in them. Of course, it’s the same in real life. It’s not an accident that the Iliad is the fountainhead of Western literature. It still resonates twenty-five hundred odd years later. At least it did with me.

While working on a series as comprehensive as the Trojan War Series, you impose upon yourself very strict limitations and boundaries, in terms of composition, value, concept, etc. In establishing these boundaries, what have you noticed in the transformation of the work, and your own styles and objectives in painting?

That is a tough question. It’s tough because I never consciously set the boundaries. They evolved, and they evolved out of figurative painting. The evolution took a long time – about fifteen years. But once I had this framework, it became this box where I could practice color, composition and other elements of painting. Another way of looking at it is that I’ve used the stone motif and the symbol of the cross much as somebody would use the figure or still life to practice picture making. I’m always looking for a new box to practice within, by the way.

Your paintings are abstract, to be sure, but they draw largely upon tangible elements: the streets of Seoul, neon crosses, inscribed Japanese stones, military symbols, even stencil lettering. How do you define your style of working?

Well, I’d say it falls generally into the broad category of Modernist type painting – Clement Greenberg’s term. Beyond that, I don’t know how to categorize it. I’d leave that to someone who knows more about art than I do.

Did you work on many of these pieces living abroad? How did that affect the outcome of the work?

I didn’t paint anything from the series based on Japanese stone markers and Homer’s Iliad when I was overseas the last time. I tried, but it simply didn’t work. I ended up doing composite work based on some visuals I picked up in Seoul. However, the paintings did not start out as composites. That evolved. I was actually painting symbols on small canvases that I carried home on my bike from a carpenter’s shop. I had painted about twenty of these small pieces when I started organizing them into larger pieces. Some of these pieces are at the Ralls Collection now. You can see I clamped the canvases together tightly and then secured them in place with screws. The result was sort of organized chaos, that thing that often seems to surround one while living in a foreign country.

Who are some of your influences as a painter?

Adolph Gottlieb was the first non-figurative painter I became transfixed by, so that’s a start. Richard Diebenkorn and Robert Motherwell are others that everybody knows. Yet I remember being in Mexico in the mid-nineties and seeing profound folk paintings based on simple motifs. The same goes for pictures I saw in Japan and Korea. Now I wish I’d collected some of these pieces. Closer to me, the Washington DC painter John Blee has had a big impact on the tone of my work. Looking at Blee’s work keeps my palette from getting too somber. His dedication to painting is unmatched.

Of course from an early age, both my brother’s and my mother’s painting greatly influenced my work. I used to tell my mother I stole her color palette–she said she didn’t mind, by the way. My brother opened my mind to the possibilities of figure abstraction and abstraction in general.

What are your favorite museum exhibits in DC right now?

The American Modernism showing at the National
Gallery right now. I particularly like the pieces by Dove, Marin and Hartley. I’ve spent a lot of time out of the country – so much that I have developed a particular passion for things American: skyscrapers, cowboys, highways through the desert, the Shenandoah Valley and the bravery of our painting. Go anywhere you wish in the world and you can’t beat the boldness of Avery, Pollock, Kline, Basquiat, Johns or Rauschenberg. These painters aren’t in that particular exhibit, but you get what I mean.

What would your advice be to a painter struggling with inspiration, unsure of what to paint?

Well, you know the thing about inspiration…a little goes a long way if you work hard after the fact. I don’t think what you paint actually matters. Find something that interests you and attack it, hard. Paint that, then go to museums and exhibits and look at painting. See how others are doing it or did it. Then, go back and paint more and then look at more painting. Keep doing it. Hang out with other painters and talk about it. Eventually, it melds into something cohesive and true. [gallery ids="99206,103450,103446,103444" nav="thumbs"]

Ari Post •

“Leonardo da Vinci wasn’t new,” says Sam Gilliam. “It’s the way that, in his context, he used all the information that he had that was very important in that particular moment. No art is really new in that sense.”

In a given conversation Gilliam’s historic references weave through centuries of artistic progress and evolution, envisioning the entire span of art history up to now as a sweeping landscape to be absorbed at one time. One of the last vestiges of Washington’s original visual arts community from the 1960s, Gilliam has long been known for his involvement with the influential Washington Color School—among painters like Morris Louis and and Kenneth Noland—and for innovating the unsupported canvas, which challenged preconceived categories of art.

He does not discuss his artistic influences without referencing the influences of those artists, and does not credit one artistic innovation without mention of its catalysts. “You can’t know the present or future without knowing the past,” he says. “Then you build your own concepts.”

With a loud and wielding intellect, Gilliam touts art as an ideal to achieve, as a fundamental in itself. He believes strongly in the future, education and progression of art, but is openly distressed over its current state. “In 1968,” he says, “more and more young people started trying to become artists in this city. There was a very good art scene in Washington… But the scene here almost failed two or three years ago when the 14th Street galleries mostly closed—the good ones, like G Fine Arts. And the NEA hasn’t gotten around to giving any grants to the visual arts.”

His worries are supported by a 2008 Survey of Public Participation in the Arts conducted by the NEA, which reported a 5% decline in arts participation by Americans since the previous survey (2001-2002), noting that “rapid advances in technology had enabled more access to arts events and arts creation through portable devices and the internet.”

Dwindling interest in the arts is not a new conversation, especially within painting and the visual arts, which has been proclaimed dead innumerable times since at least the days of Abstract Expressionism. But connecting with the past and finding shared ground within the rocky historical terrain of visual art is just what propels Gilliam and his work into the future.

This is showcased in his current installation at The Phillips Collection, coinciding with the museum’s 90th anniversary, where his site-specific painting for the museum’s elliptical staircase (on view until April 24) hangs adjacent to a gallery with works that Gilliam chose by Arthur Dove, Jackson Pollock and John Marin, using the canon of American painters “as a way of defining what’s going to happen in the future.”

Dove’s artwork, specifically his painting “Flour Mill II” (1938), are profoundly influential paintings for Gilliam, who first saw the work at the Phillips in the early 1960s. His current installation is a direct response to the painting, bridging history and influence and reviving the past in a candid and innovative way.

As a painter who has never abandoned his city, Gilliam’s installation at The Phillips is an achievement for the Washington art community. His first show at the Phillips was in 1967, and since then he has been active in the international art scene while remaining devoted and influential to local artistic circles. This installation reinforces the community among the city’s visual arts efforts and breathes new life into the Phillips as a contemporary art museum.

While he hasn’t worked with the Phillips in a major way since his 1967 exhibition, Gilliam notes The Phillips as a source of inspiration and study throughout the years to which he has returned frequently, using the museum’s collection to inform his own paintings. “The Phillips was showing art that was very inspirational when you first came to Washington in the 60s. I would go back for Morris Louis, Pollock, Georgia O’Keeffe, Man Ray, Van Gogh, George Braque…”

Despite setbacks and economic instability, Gilliam sees promise in Washington’s art scene. “The Phillips was just born again,” he says. “So was the National Gallery. In a sense, so has the Hirshhorn. There are new curators there and people that will put things before you. They are really set to take off. The only thing that they don’t have is as many bars as they used to have on Connecticut Avenue—more places to converse.”

Sam Gilliam’s intallation will be on view at The Phillips Collection through April 24. Also on view is an exhibition of artist David Smith, who Gilliam credits as a major influence of color field painting. For more information visit PhillipsCollection.org
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John Blee •

Visiting New York right now should include MoMA. The Museum of Modern Art sits in the middle of mid-town Manhattan in an assortment of buildings starting with the first International Style building in America by Stone and Goodwin, to the recent add-on by Taniguchi. With all the adding, the subtraction of this process has been the alteration of the way the original building opened onto the sculpture garden. It was once a real jewel of an urban space. I remember watching Natalie Wood way back in 1966 in MoMA’s garden, during the filming of “Penelope,” blowing bubble-gum.

Currently there is a triumphant show, “Abstract Expressionist New York” on the entire fourth floor that somehow fits the space of MoMA like no other. If you ever doubted the power of Jackson Pollock’s gifts you go away awed by his classical command of drawing and the creation of a totally new pictorial space. Somehow he keeps his demons at bay, but their power energizes his sometimes enormous pictures. All works in this show are in MoMA’s permanent collection. Pollock’s work exhibited here rivals anything else in MoMA.

There are several artists given solo-gallery status including Guston, Pollock, Rothko and Newman, with a few half-galleries thrown in for Kline and Gorky. David Smith’s sculpture is sprinkled throughout the galleries to great effect with his “Australia” standing triumphantly in juxtaposition with Pollock.

No museum can beat the assembled collection of Barnett Newman with “Vir Heroicus Sublimis.”
The Rothko room at MoMA is a treat, and one hopes it could be left up. Though seeing MoMA’s Rothkos makes one realize that DC’s own National Gallery has a much richer selection. Tie that together with the Phillips Collection’s Rothko Room and DC wins as Rothko City! Also the National Gallery’s “Stations of the Cross” by Barnett Newman comes close to matching MoMA.

De Kooning is the one painter that was a giant of the movement that is slighted in this show. He is not given his own room. And why in the world did they not show “Woman II,” which they own, along with “Woman I?” The one painterly abstraction “A Tree in Naples,” from 1960, is not one of the best of that period. Thinking on the title of the show I recall the exclamation of de Kooning at the time, “It is disastrous to name ourselves.”

Women are here in full force with Frankenthaler, Hartigan, Mitchell, Krasner and Sterne. Only Krasner and Hartigan are represented by first-rate work. Lee Krasner is never strong for me, after the 40s. Joan Mitchell really did her greatest work after the 60s. And the lone Frankenthaler should have been replaced by the far greater “Jacob’s Ladder.”

And why do they have the dreadful “Elegy” up by Motherwell when they own a much better one? It is probably due to the fact that today’s curators have discarded quality as an essential element of art.

Photography has its own galleries with great works by Aaron Siskind and Minor White among others. Collaboration with poets is featured in another group of galleries.

Abstract Expressionism, or the New York School, was the last art movement to really have all the arts on board at once. The poets were very much part of the milieu, as were the classical composers: one thinks immediately of Morton Feldman and Stefan Wolpe. All of these artists from various disciplines met at The Club where they discussed art in sometime heated debates.

Perhaps one reason why art has become more impoverished since Abstract Expressionism is this lack of interconnectedness. When I speak with artists today they speak about everything but the arts. They never mention poetry, and have never listened to classical modern music, nor do they attend dance performances.

Remembered fondly is poet, Frank O’Hara, who worked at the information desk at MoMA until someone remarked that he had written a book on Jackson Pollock. He was promptly promoted to curator. What museum would have the guts or wisdom (not a part of Postmodernism) to do that? He was a go-between to many of the artists in this show, and his poem “Why I am not a painter” should be posted on the wall.

Please note MoMA is closed on Tuesdays and “Abstract Expressionist New York” continues through April 25th, 2011.

Georgetowner •

Corcoran Gallery of Art
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NEXT at the Corcoran: BFA Class of 2011
April 23–May 22, 2011
On the footsteps of Corcoran’s progressive and wonderfully fresh “NOW” series, which spotlights contemporary working artists as comprehensively as most museums cover the classics, comes NEXT, an exhibition of the Corcoran College graduating class of 2011. There is sure to be an impressive array of budding artists on display with the bravado and curiosity that students exemplify, like horses chomping at the bit.

NOW at the Corcoran: Chris Martin
June 18–October 23, 2011
Although abstract, Martin’s paintings are a direct response to the physical world around him. Many of his works integrate objects from his immediate environment into their surfaces, including kitchen utensils, records, photographs, and Persian carpets. The works are as much about daily life—music, travel, and language—as they are about mythology, storytelling, the endurance of symbols, and the role of painting in art history.
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Freer | Sackler
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Echoes of the Past: The Buddhist Cave Temples of Xiangtangshan
February 26–July 31, 2011 (Sackler Gallery)
Majestic sixth-century Chinese Buddhist sculpture is combined with 3-D imaging technology in this exploration of one of the most important groups of Buddhist devotional sites in early medieval China. Carved into the mountains of northern China, the Buddhist cave temples of Xiangtangshan (pronounced “shahng-tahng-shahn”) were the crowning cultural achievement of the Northern Qi dynasty (550-77 CE). Once home to a magnificent array of sculptures–monumental Buddhas, divine attendant figures, and crouching monsters framed by floral motifs–the limestone caves were severely damaged in the first half of the twentieth century, when their contents were chiseled away and offered for sale on the international art market. The exhibit re-creates the forms and power of these sacred Eastern sculptures as they were originally constructed.

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Hirshhorn Museum and Sculpture Garden
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Blinky Palermo: Retrospective 1964-1977
February 24, 2011- May 15, 2011
Palermo (1943-1977), renowned throughout Europe as an influential postwar painter, has been largely looked over by America. This exhibition is the first comprehensive survey of his work in the United States, reflecting the artist’s progression, follows a loose chronology based on his four main bodies of work.

Directions: Grazia Toderi
Opens April 21, 2011
Best known for her large-scale installations, Toderi calls her video projections “frescoes of light.” The artist works from documentary imagery collected from urban night surveillance and military, satellite, and space program footage. Over these she superimposes her own photography and cinematography, altering the effect with digital manipulations and unifying the vista with sepia-tone filters. The result feels both familiar and mysterious, as the eye struggles to determine the horizon line and read the origins of fields of glimmering lights. Shown on an endless loop, these mesmerizing nightscapes represent the artist’s ambition to “visualize the infinite.”

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The Kreeger Museum
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In Unison: 20 Washington, DC Artists
January 15 – February 26, 2011
The Kreeger initiated this exhibition with DC artist Sam Gilliam, collecting 20 established artists from the local community, all working in different styles and mediums. All artists were invited to come together to create a series of five monoprints each, one of which was selected for the exhibition by Gilliam, Judy A. Greenberg, Director of The Kreeger, Marsha Mateyka of the Marsha Mateyka Gallery and Claudia Rousseau, Ph.D., art critic and art historian. “The ideas of creating a group portfolio and exhibiting together express the ideas of unity and identity that are underlying motives of the project, and which are vital to sustaining a thriving artistic community,” says Rousseau.

Tom Wesselmann Draws
April 8 – July 30, 2011
American pop artist and collagist Tom Wesselmann (1931-2004) worked feverishly up until the end of his life, creating iconic pop imagery which, almost in contrast to the ironic and dismissive nature of the movement, spoke powerfully toward the history and influences of fine art. The exhibition at the Kreeger, which covers drawings from Wesselmann’s entire career, spanning 1959-2004, is the most comprehensive exhibition of drawings by the artist that has ever been assembled. Many of the 108 works have never been seen outside the artist’s studio in New York.
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The Phillips Collection
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90 Years of New – 90th Anniversary
Since it first opened its doors in 1921, The Phillips Collection has been revered as a pioneer in contemporary art; it was America’s first museum of modern art, and it has remained a relevant and progressive hub for contemporary fine art throughout its life. The 90th Birthday Celebration, which will stretch into the rest of the year, will feature focuses on a variety of installations, old and new, including an especially created new work by Sam Gilliam, who had his first solo show here in 1967. Firsts, and the re-emergence of classic works purchased by the Phillips will be one of the themes throughout the year.

Kandinsky and the Harmony of Silence: Painting with White Border
June 11–September 4, 2011
After a visit to his native Moscow in 1912, Vasily Kandinsky (1866–1944) sought to find a way to record the “extremely powerful impressions” that lingered in his memory. Working tirelessly through numerous drawings, watercolors, and oil studies over a five-month period, Kandinsky eventually arrived at his 1913 masterpiece, Painting with White Border. The exhibition will reunite this painting with over 12 preparatory studies from international collections, including the Phillips’s oil sketch, and compare it with other closely related works. Complemented by an in-depth conservation study of Painting with White Border, the exhibition will provide viewers with a rare glimpse into Kandinsky’s creative process.
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National Gallery of Art:
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Gauguin: Maker of Myth
February 27–June 5, 2011
Gauguin (1848–1903) was one of the most traveled artists in history, and it showed up in his work. His colorful images of Brittany and the islands of the South Seas are some of the most striking, distinct works of the last 200 years. His travels will be on display in nearly 120 works by Gauguin in the first major look at the artist’s oeuvre in the United States since the NGA’s retrospective of the artist in 1988–1989. The exhibition, organized by Tate Modern, London, brings together an eclectic breadth of self-portraits, genre pictures, still lifes, and landscapes from throughout the artist’s career. It includes not only oil paintings but also pastels, prints, drawings, sculpture, and decorated functional objects.

Venice: Canaletto and His Rivals
February 20–May 30, 2011
Venice inspired a school of competitive painters, who focused on the land, sea and cityscapes of the Bride of the Sea, resulting in a remarkable achievement in 18th-century art. This exhibition celebrates the rich variety of these Venetian views, known as vedute, through some 20 masterworks by Canaletto and more than 30 by his rivals. The painters depicted the famous monuments and vistas of Venice in different moods and seasons.

In the Tower: Nam June Paik
March 13 – October 2
Paik (1932–2006) is a towering figure in contemporary art. Born in Korea and trained in Japan and Germany in aesthetics and music, Paik settled in New York in 1964 and quickly became a pioneer in the integration of art with technology and performance. Considered by many to be the first video artist, this exhibition features a selection from Paik’s estate as well as from the Gallery’s own collection. The centerpiece is One Candle, Candle Projection (1988–2000), one of the artist’s simplest, most dynamic works. Each morning a candle is lit and a video camera follows its progress, casting its flickering, magnified, processed image onto the walls in myriad projections.

Gabriel Metsu 1629–1667
April 17–July 24, 2011
One of the most important Dutch genre painters of the mid-17th century, Gabriel Metsu (1629–1667) could capture ordinary moments of life with freshness and spontaneity. Although his career was relatively short, Metsu enjoyed great success as a genre painter, but also for his religious scenes, still lifes, and portraits. The show will feature some 35 paintings by the artist.
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The National Portrait Gallery
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Calder’s Portraits: A New Language
March 11-August 14, 2011
Most people recognize Calder (1898-1976) for his grandly ambitious, larger-than-life mobiles, like the one hanging in the main plaza of the NGA’s East Wing, or the “Calder Room” in the same building. What many people don’t know is that Calder was also a prolific portrait artist. Throughout his career Calder portrayed entertainment, sports, and art-world figures, including Josephine Baker, Babe Ruth, and Charles Lindbergh to name a few. Calder worked largely in wire, which he shaped into three-dimensional portraits of considerable character and nuance. Suspended from the wall or ceiling, the portraits are free to move. The movement gives the subjects a life of their own.

Capital Portraits: Treasures from Washington Private Collections
April 8 – September 5, 2011
This exhibition presents portraits that reside in private Washington, DC collections. Many of the works have never been on public display before and the exhibition reveals a remarkable range of styles, images and perhaps most importantly, stories. Works included are by major artists such as John Singleton Copley, Mary Cassatt, and Andy Warhol.

150th Commemoration of the Civil War: The Death of Ellsworth
April 29, 2011 – March 18, 2012
On the site of a former Union hospital, the National Portrait Gallery will mark the 150th anniversary of the Civil War through a series of four alcove exhibitions—one each year—commemorating this period of American history. The first of these exhibitions recounts the death of Colonel Elmer E. Ellsworth in Alexandria, VA. Ellsworth was a friend of Abraham Lincoln and the first Union officer to be killed in the war.

One Life: Ronald Reagan
July 1, 2011 – May 28, 2012
If you have seen the One Life: Katherine Graham, you don’t need to be told that this is bound to be a small gem of a pictorial biography, with both historical, social and emotional power for anyone who ever cared about Reagan, one way or the other.
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Smithsonian American Art Museum
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To Make a World: George Ault and 1940s America
March 11, 2011 – September 5, 2011
During the 1940s, painter George Ault (1891-1948) created precise yet eerie pictures that have come to be seen, following his death, as some of the most original paintings made in America in those years. To Make a World captures a 1940s America that was rendered fragile by the Great Depression and made anxious by a global conflict.

History in the Making: Renwick Craft Invitational 2011
March 25, 2011 – July 31, 2011
This exhibition presents the work of a group of artists: ceramicist Cliff Lee, furniture maker Matthias Pliessnig, glass artist Judith Schaechter and silversmith Ubaldo Vitali. These four extraordinary artists create works of superior craftsmanship that address the classic craft notion of function without sacrificing a contemporary aesthetic
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The Textile Musem
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Green: the Color and the Cause
April 16 -September 11, 2011
This exhibition will celebrate everything green, both as a color and as a cause, exploring the techniques people have devised to create green textiles, the meanings this color has held in cultures across time and place, and the ways that contemporary textile artists and designers are responding to concerns about the environment. The exhibition will include a selection of work from the Museum’s collection, along with extraordinary work by contemporary artists and designers from five continents, including two extraordinary on-site installations.

John Blee •

The thousand-year-old “Shahnama,” or Persian book of kings, is resplendently represented
in a jewel of a show at the Arthur M. Sackler Gallery. “Shahnama,” written by the revered ninth century Persian poet Firdawsi, is “in its cultural significance and popularity on equal footing with the works of Shakespeare, Homer and the Mahabharata,” says Massumeh Farhad, chief curator and curator of Islamic art, and organizer of the exhibition.

It is impossible to overstate the cultural importance of Firdawsi. It is not a subtle fact that Arabic is not the national language of Iran, a predominantly Muslim country. Firdawsi’s writing of the “Shahnama”
revived Farsi and made it the cultural as well as the everyday language of Iran. Farsi is spoken in part of Afghanistan, but it was also the court language of the Mughals in India. Firdawsi did this through retelling the actual and sometimes mythical and fantastical stories of the Kings of Iran until the Arab conquest in the seventh century. Included in the tales are three women monarchs. The “Shahnama”
also uses the “Avesta,” a collection of texts sacred to the Zoroastrians, as one of its sources.

The “Shahnama” is not a simple book of myth and history. It also emphasizes justice, a concept that perhaps came into Judaism during contact with the Persians. It also emphasizes divine glory, known as “farr” in modern Farsi.

What can make the eye feel the sublime through color more than the Persian miniature? There is nowhere that greater pleasure can be taken in the concise and daring juxtapositions of shape and intense color in miniatures, including the “Court of Jamshid.” When Jamshid ruled, it is told that, “The world submitted to him, quarrels were laid to rest.” He is credited with establishing the Iranian celebration of Now-ruz, a festive celebration of spring even marked by US presidents with special broadcasts to Iran. It is also said that in the reign of Jamshid, “Men knew nothing of sorrow and evil…and the land was filled with music.” The celebration of Now-ruz as well as music was antithetical to the prevailing religion in Iran. In fact, the current government tried to ban Now-ruz.

In another miniature the tyrant Zahhak, who ruled for a thousand years, is resplendent in red with green sleeves on a low throne embellished with floral design. Behind him are mauve rocky hills. It is said during his reign the wise had to conceal themselves, which is much the same sort of history recounted in the “I Ching.”

One thing to note is that these miniatures were pages in books and were not imagined by their creators as hanging on a wall. Looking at them it is best to imagine holding them in your hands.
The spaces around the figures in the miniatures are often lyrically imagined gardens created in hues of passion. The name “Firdawsi” is a penname, as the word actually means paradise—and paradise in Persia is a garden. Through April 17th, 2011 at the Sackler Gallery. [gallery ids="102550,102551" nav="thumbs"]

John Blee •

At the National Gallery of Art, early American Modernism from the Shein collection is featured on the first floor of the East Wing. The National Gallery does not have a strong showing of works from this critical period in American art, and the Shein collection will help fill in the gap. There are some very strong pieces here by major players, including Marsden Hartley, Georgia O’Keeffe, John Marin and Stuart Davis. But it is the lesser-known artists that can sometimes surprise.

One such surprise is Patrick Henry Bruce’s “Painting (Still Life)” that rivals a similar piece by Davis. In many ways I prefer the Bruce, which has a quiet energized classicism. Bruce’s “Painting” was completed in 1919, in the heat of the fray. Davis’ “Unfinished Business” was finished in 1962, toward the end of Davis’ career. Bruce was a much more important painter than Davis in 1919. He was a friend of Sonia and Robert Delaunay and possibly influenced the stark reductivism Matisse adopted in the ’30s for his large “Dance” murals. Unfortunately, Bruce, a descendant of Patrick Henry, killed himself in 1936. Though Davis achieved more and left a greater mark on American abstraction, Bruce deserves to be remembered.

I recall James Rosenquist remembering his teacher Edwin Dickinson, who said that the light was all off in New York studios, since north in New York City was not true north. If there is a northern light, it exists in Dickinson’s work, including “South Wellfleet Inn,” circa 1950-60. It is off every beaten track as a painting, coming close to a kind of obscurist realism. It is playful and morbid, like most of the work of Dickinson’s I have seen.

One cannot escape the fact that O’Keeffe’s “Dark Iris No. 2” and Hartley’s “Pre-War Pageant” eclipse most of the rest of the show, with the exception of Marin’s “Written Sea.” The Marin is one of the most restrained I have ever seen. It is more of a drawing than a painting, but masterful. The O’Keeffe and the Hartley are both at the center of their respective identities. O’Keeffe’s “Iris” is resplendently sensual. With Hartley, I quote Georgia O’Keeffe on his shows at Steichen’s gallery and say it’s “like a brass band in a small closet.”

Going into the tower where Matisse’s cutouts used to hang is now as Zen a place as I have been in D.C. It’s the home of several of Mark Rothko’s darkest work in as perfect an installation as possible. Somehow the off-rectangle of the tower with its high ceiling could not be a better setting.

The intermittent playing of Morton Feldman’s “Rothko Chapel” makes it complete. Feldman has written of his music that, “I envisioned an immobile procession not unlike the friezes on Greek temples.” A friend of mine recalled what Rothko said, on visiting a temple in Greece, “I’ve always been painting them, now I am in one.”

Darkness is not a metaphysical state much in favor these days. The medical industry is making huge amounts of money as a result. But facing darkness — and rendering it — is tough. Shostakovich did especially in his 14th and 15th quartets, as did Beethoven in his late quartets. In painting it is rarer. I recall Turner’s “Peace – Burial at Sea,” who, when he was questioned on the black sails he had painted, replied “I only wish I had any color to make them blacker.”

Reflecting on Rothko’s pictures, they do seem to me to bear some relation to Ad Reinhardt’s black paintings — though unlike Rothko, Reinhardt was ironic in his black pictures. Rothko is closer akin Gerard Manley Hopkins’ in his poem “Carrion Comfort”: “Of now done darkness I wretch lay wrestling with (my God!) my God.”

“American Modernism” runs through January 2, 2011. [gallery ids="99176,103189,103193" nav="thumbs"]

Ari Post •

In the jumbled lexicon of late 20th century fine arts, where endless styles and genres collapse into one another like a landscape of staggered dominos, few artistic voices have emerged with any lasting force. Chuck Close is one of the few. Famous for his large-scale portraits ranging in medium from painting and drawing to printmaking and photography, Close’s work has a mystifying staying power that attracts audiences with its grandiosity and astounding depth. “Chuck Close Prints: Process and Collaboration,” a retrospective at the Corcoran Gallery of Art, is perhaps the seminal exhibition of Close’s work — an immense yet intimate ode to the timeless appeal of portraiture and the boundless expanses of Close’s technical innovations in art.

Close’s colossal, hyper-realistic portraiture is as synonymous with his name as Jackson Pollock’s is with drip painting. He is one of a handful of working artists that can draw crowds well beyond artistic communities, and has played a large hand in reviving interest and relevance in realism after a tidal wave of artistic deconstruction and abstraction. His techniques have been groundbreaking, and the steady evolution of his work demands to be experienced.

The exhibition offers far more than a comprehensive collection of Close’s work. It delves further, inviting the viewer into his artistic process, which is in large part the source behind the awe his work inspires. “I think people can look at his work and understand what they’re looking at, but also be fascinated … and not quite understand how he’s managed to make the works that he’s made,” says Amanda Maddox, organizing curator of the exhibition. Thus, the show aims to help the audience understand Close’s work through his process.

Focused largely on his extensive body of prints, the show examines Close’s revisiting of printmaking in his visual experimentation. Ultimately, these experiments have resulted not only in some of Close’s most accomplished works, but new techniques and approaches that have greatly expanded the possibilities of the medium.

A piece in this show rarely just stands alone. Displayed is the geography of artistic process, a roadmap of studies leading up to a final image. Alongside his lithograph prints hang the actual lithographs used in the printing, with descriptions of his techniques and technical hurdles. The show displays the original grids that preceded each work, parchment rolls of matrices and proofs covered in scrawling notes by the artist. Color charts and value studies map the topography of Close’s artistic journey, a technical mastery wrought by compulsion and relentless experimentation. In a way, the show becomes a discussion of artistic tribulations, limitations, triumphs and revelations.

As a student, Close was primarily interested in abstract painting, claiming to have been something of a diluted, amateur Willem de Kooning, a painter he greatly admired. However, in 1967, he decided to abandon abstraction and turned his attention toward monumental, hyper-realistic portraits of himself, family and close friends.

He then took it a step further, abandoning the paintbrush for printmaking, a medium in which he had no expertise or facility, in order to challenge himself. His intention was to force a creative breakthrough. In 1972, with the help of printer Kathan Brown, Close created his first print, revisiting the archaic 17th century printing technique of mezzotint, the first printing technique to utilize halftones. The print, titled “Keith/Mezzotint” — displayed upon entering the exhibition — is an intricate study in halftones and textures, light and dark, producing a modern, layered effect while maintaining an astounding technical realism. This melding of photorealism inside abstract textures and patterns has become a trademark of Close’s work.

Over his career, and with the assistance of master printers and various collaborators, Close has created some of the most memorable images of the last 40 years. When making a print, Close and his team complete every stage of their process by hand, from translating an image onto a matrix to carving wood blocks, etching plates, and applying multiple layers of color. The sheer scale and technical complexity of his portraits, combined with this time-consuming process, often means that a single print can take years to complete. However, Close welcomes this challenge. “When you have very strict limitations,” he says, “you have to be … very creative to figure out a way of getting them to work for you. I found that kind of problem-solving very interesting.”

Much of the genius of Close’s work comes from the two contrasting views afforded to the onlooker in each piece — the audience must look at each work twice. From afar the portraits, while differing in tonal value and color pattern, range in appearance from photorealistic to a stylized, almost digitally altered realism. The way in which Close works from photographs dissected into grid, or incremental units, as he calls them, ensures that all his work will be anatomically accurate and perfectly balanced in reality, whether it is made with pulp paper multiples or his own fingerprints.

But the closer one moves in towards a piece, the more it begins to break up, until, inches from the paper, there is nothing to be seen but a kaleidoscopic field of colors and shapes and textures – a very real abstraction. As Maddox explains, “He’s interested in how much information you can convey or compact into a space, and then translate.”

In this regard, it really is the scale that mesmerizes. Reproductions of Close’s work fail to capture their essences much in the same way that Lichtenstein’s large-scale comic strip paintings, when shrunk onto paper, merely look like an excerpt from a comic. The shrunken copies, as the ones accompanying this article, are merely a shadow of the actual works, which are often more than six feet tall.

“I think the show presents an opportunity to really see his marks, and see how detailed his work is,” says Maddox. “Chuck is interested in scale and the destabilizing effect that scale can produce or impart. I think people find that fascinating more than anything else.”

The sheer nature of the realism and the quirks of his techniques cannot be understood unless experienced. His process is engaging, and the variations are remarkable. From traditional Japanese ukiyo-e woodblock prints to silkscreen, aquatint, and spitbite etching, his repertoire of printing techniques is a history lesson in itself, and the subtle, palpable printing methods are only comprehensible when viewed from inches away — an unusual and welcome intimacy for such grandiose work.

The exhibition has been touring domestically and internationally over the last seven years. Running through Labor Day weekend at the Corcoran, “Chuck Close Prints: Process and Collaboration” is one of D.C.’s finest offerings this season. It is a piece of history as it is being told, and an open-ended invitation into the mind of a modern artistic genius. More than any show most will ever see, the exhibition illuminates the agonies and ecstasies of the artistic process as it is usually only experienced by art historians, curators and restorers.

The Corcoran has additionally made itself free to the public on Saturdays through Labor Day weekend this year. There is no reason to miss this groundbreaking collection and experience the corridors of details, the overwhelming scale, and the fragile intimacy of Chuck Close.

Contact the author at ari@georgetowner.com. [gallery ids="99182,103270,103259,103266,103263" nav="thumbs"]

David Richardson •

When I look at Mike Weber’s work, I sense the subjects of the late 19th- and early 20th-century photographs he incorporates into his work have been displaced into a contemporary setting where they are perfectly content and at ease. There is an enchanting mysteriousness to the work. Weber says, “I focus on subtle facial expressions of my subjects and many are looking at the camera or photographer as if it was the first time they had been exposed to a camera.” In less capable hands, the subjects could have been soulless, but Weber is able to create hosts who offer the viewer access to the artist’s own deft craftsmanship.

Weber hand paints or stencils letters into the work with quietness that does not overpower the central figurative themes. Even in the piece “In a Broken Dream,” where the word DREAM is painted backward and prominently across the picture, the viewer’s gaze doesn’t fixate but moves through the entire piece, taking note of Weber’s masterful use of dripped paint, pencil markings and color. One of the most interesting aspects of Weber’s pieces are the calligraphic lines he scrawls around the edges or over the photos. These black, red, blue or gold lines unify the work and fuse the sepia photos into the overall picture plane.

Jason Wright’s “Heartland” series is displayed opposite Weber’s and provides a good counterpoint. Write applies his paint impasto with a pallet knife, creating commanding, austere pieces. Like Weber, Wright generates a sense of mystery in his work, but with buildings on a landscape that verge on silhouette instead of portraiture. I sense he plans each picture carefully and then executes them in a quick, confident manner. From the titles such as “We Are Not the Same,” “Together” and “Nostalgias of Another Life,” one concludes these paintings are allegory and Wright confirms this by saying, “I wanted my work to haunt the viewer and evoke questions about their own feelings when it comes to a home.”

At first glance, three colors dominate Wright’s work: black, white and tan. He applies classic composition principles and linear ruled shapes that meet abruptly, creating scenes reminiscent of houses standing alone or in groups on desert or farmland horizons. All this happens in the central picture plane which gives way to something else: light. On the edges of the pictures, Write has left or painted in pinkish flakes that draw the viewer’s eye around the painting before resting again on the austere central theme of the work. The stark contrast of hue, value and intensity Write creates by juxtaposing tans, whites and blacks at the center of the pieces against the pinks on the edges gives his work vibrancy, charm and that little surprise that keeps a viewer’s attention.

The exhibits are on display at Plan B Gallery (1530 14th St.) until Aug. 29. [gallery ids="99183,103264" nav="thumbs"]