Arts & Society

Mary Bird • May 3, 2012

Disappointment that mezzo-soprano Susan Graham had a last-minute cancellation of her afternoon Kennedy Center Washington Performing Arts Society concert Feb. 4 was softened when Bonnie McElveen-Hunter informed Daren Thomas, WPAS’s director of leadership and institutional gifts, that the post-performance cocktail reception at her stunning Georgetown residence was “always on.” When Thomas presented her with a bouquet, she quipped, “Am I the entertainer?” As a former ambassador to Finland and chairman of the American Red Cross, she said her humanitarian commitment had led her to realize that “the arts lift us up.” She thanked WPAS president and CEO Neale Perl for his leadership in expressing the “generosity of spirit through music.” He, in turn, said that over his ten years with the WPAS, despite cancellations, “Our track record is very good” and urged everyone to hold onto their tickets because “Susan Graham will be back.” Guests listened raptly to Samantha McElhaney, who sang her signature roles from “Porgy and Bess,” concluding with a cherished spiritual. The hostess invited guests to explore her wonderful home and welcomed Ambassador of Finland Ritva Koukku-Ronde. [gallery ids="100486,117350,117317,117343,117324,117337,117332" nav="thumbs"]

Mary Bird •

Cultural Tourism D.C. hosted its inaugural conference entitled “Arts, Culture, and Tourism: Strategies for Success,” Jan. 26. The event included four productive workshops focusing on communications, customer service, social media and fundraising. Johnetta Betsch Cole, director of the Smithsonian National Museum of African Art, delivered the keynote address highlighting the museum’s efforts to think outside of the box and market to a younger generation through the use of technology. Cultural Tourism D.C.’s annual meeting followed the conference focusing on 2011’s accomplishments. The Fourth Embassy Chef’s Challenge, which will be held at the Reagan Building on Mar. 8, was all the talk at the evening’s networking reception at Nage in the Courtyard Marriott. The annual fundraising event is a friendly competition among embassy chefs, which features international tastings, awards, entertainment and a world-class silent auction.
[gallery ids="100487,117365,117339,117359,117347,117354" nav="thumbs"]

Mary Bird •

Les Dames d’Escoffier, a unique worldwide philanthropic society of professional women leaders in the fields of food, fine beverage and hospitality, returned to Janet Wu’s definitely “worth a detour” Hollywood East Café in the Westfield Wheaton Shopping Center to celebrate Chinese New Year in grand fashion. This year’s eager crowd crammed the popular eatery, which prepared a seemingly unending traditional banquet with virtually every course bringing the promise of good luck. Imbibers had the additional pleasure of wines selected by Janet Cam, who is renowned for creating innovative wine lists which pair perfectly with the restaurant’s cuisine. Lion dancers provided wonderful entertainment. [gallery ids="102433,121522,121496,121508,121503,121515" nav="thumbs"]

Ari Post •

Nestled like an egg in a courtyard of high-rises and apartment buildings just off Dupont Circle sits Gold Leaf Studios. A 10,000-square-foot carriage house built in 1903 by Evalyn Walsh McLean, the building stands as an urban anomaly — one of those small architectural wonders that momentarily suspends reality when first seen. Its stucco walls and adobe tile roof recall something of the Old West, as if at any moment a cowboy-capped young stablehand will swing open the heavy wooden door and wonder aloud what sort of business a confused looking man in strange, foreign clothes has with the boss.

But the traditions at Gold Leaf Studios date much further back than the old west. And the boss, William B. Adair, a master gilder, frame historian and catch-all depository for aesthetic and historical idiosyncrasies from here to Byzantium, knows a little more than your average rancher.

Adair is among a small handful of international authorities on frame fabrication, conservation and the nearly extinct art of gilding: applying fine gold leaf to the surfaces of paintings, wood, frames or anything else you could possibly conceive (Martha Stewart did it to pumpkins — Adair taught her how). He has employed his expertise extensively with every major museum in the city and consults with gallerists, architectural firms and private collectors throughout the world. His eyes look not into a work of art from the outside, but out from the artwork into the world it reflects.

Walking into the studio, you are greeted by a flurry of activity and projects, which it becomes clear is a reflection of Adair himself. His five studio assistants occupy every dimension of the crammed and cavernous workshop, wielding brushes, cotton swabs and an arsenal of unidentifiable tools that date back to the Renaissance. Indeed, the gilding techniques employed at the studio are of an age-old craft that has remained unchanged since the Late Middle Ages

“Man has worked with gold as long as it’s been around,” says Adair. “Gilding, in fact, is the third oldest occupation in history — behind prostitution and advertising.”

As with the other two oldest professions, there are varying techniques for gilding. But the oldest and most common form is a process called water gilding, which Adair employs exclusively at Gold Leaf Studios. After first applying layers of gesso to linen or wood — for a painting or a frame — the gilder then applies a layer of clay and glue, called bole, to help the small thin sheets of gold leaf adhere. The applied gold is then burnished and can be lightly manipulated. For a textured, dynamic surface, such as embossed vines wrapped about a picture frame, warm gesso can be carefully ladled upon the surface to create the patterns before laying the gold leaf, a process called pastiglia.

Examples of gold leaf abound in museums and buildings around the District, perhaps most prominent displayed in the National Gallery of Art’s permanent collection of 13th and 14th century Italian paintings, which is all but overrun by brilliant gold leaf altarpieces. “The National Gallery is resplendent with examples of Renaissance gilding,” says Adair. “There’s really nothing like it in the area.”

The collection’s few paintings by the Italian master Duccio (about 1260 – 1319) illuminate the ethereal splendor of gold leaf, as well as the sweep of humanist philosophy at the heart of Renaissance. (But that history is for another day.)

Adair began his long tenure with framing and gilding rather fortuitously. After studying fine art at the University of Maryland, he found work with the National Portrait Gallery. “I was hired to work in the exhibits department,” he says. “And they put me in charge of framing. Of course, one thing led to another, as it goes, and in 1982, I left to found Gold Leaf Studios.”

He tells the story like a shrug, undermining the inevitable mad passion that evidently took him over. This is not an occupation one just happens to fall into, like business administration. Adair’s multifaceted work requires him to be a historian, anthropologist, diligent researcher, tedious craftsman and sharp intellectual — usually all at once. He can distinguish periods and demographics in history from the geometric flourish on a strip of wood lining a painting that most of us would entirely disregard.

“But that is precisely the job of the frame,” he says. “If the frame jumps out at you or feels incongruous to the artwork, it isn’t doing its job. It’s a little bit like God — if it’s doing everything right, most people won’t even notice that it’s doing anything. In the Middle Ages, it was said that an empty niche in a cathedral is where God dwells. They were often left empty intentionally — like an empty frame can stand for an unspoken wonder otherwise within its borders.”

His history with gilding began in 1975, when the Smithsonian awarded him a grant to travel to Europe to learn about tools and techniques from the few remaining master gilders working in the Renaissance tradition. Working back and forth between these interwoven ancient crafts, Adair found his calling.

The year after he founded Gold Leaf Studios, Adair mounted the first ever exhibition of American frames, titled “The Frame In America, 1700 – 1900.” Along with the exhibition, which was sponsored by the American Institute of Architects, he produced a catalogue that is still regarded as an invaluable reference for American frame history. (The book, titled after the exhibit, is available at Blurb.com.) In 1995, he curated a follow-up exhibition, “The Frame In America, 1860 – 1960,” which traveled around the country through the Mid-Atlantic Arts Alliance for five years.

In 1991, the American Academy in Rome awarded Adair’s achievements with the Rome Prize in Design, wherein he spent six months further immersed in the elusive study of the origins of frame design. He is a founding member of the Society of Gilders and a member of the American Institute for Conservation of Historic and Artistic Works. The list of accolades, acclaim, professional anecdotes and associations stretches on like the scrolls of Ancient Alexandria, but talking to him, all that seems to matter is the craft and the history.

“Back in the 13th and 14th centuries,” he says, “as much time and money was spent on the frame as the artwork. They were custom designed to fit each individual painting.”

A well-designed frame is integral to illuminating a sound work of art. And Adair has made it his life’s work to preserve these traditions, while reintroducing them to the cultural market.

At his studio, Adair develops new frame designs and reproduces period frames. Each frame is handmade to enhance and relate to the work it holds. Through the years, he has amassed a repertoire of frame designs that pays homage to historical periods and styles around the world.

Meanwhile, in his conservation department, he preserves and repairs antique frames, gilded objects and furniture better than any in the trade. Since its founding, Adair has held his studio to museum standards of conservation, and it has long been a member of the American Institute for Conservation of Historic Artistic Works. “We’re committed here to combining contemporary techniques with age-old and proven methods,” he says. “Nothing is more important than preserving the historic and aesthetic value of each piece, whether we’re working with an old family portrait from the turn of the century or a Cézanne watercolor.”

Adair also hosts regular seminars throughout the country and internationally on gilding, finishing techniques and frame history. Instructing students, hobbyists and field professionals, he is a regular at the annual Frame Convention in Las Vegas, and is frequently booking classes at the Washington Design Center, just off L’Enfant Plaza.

For several years, Adair has been in partnership with Montgomery College in Silver Spring, holding seminars for educators on gilding practices. “My goal right now is to train the trainers,” he says. “I want teachers to be familiar with the art of gilding so that it can be reintroduced as a viable art.”

Through these seminars, he hopes to combat the decline of trade skills in education in the U.S. But despite what Adair calls, “a lack of artisanship in the world,” he has begun to notice an increasing interest in these forgotten arts.

“Along with the digital revolution,” he says, “there has been a parallel movement in homegrown craft revival. It has taken many forms. You see it in the local food markets and in the growing interest in vintage and custom goods. People want to know where their products come from, their histories, and they want to know that they are made well.”

Adair has found a unique companion for championing this cause in Prince Charles.

The Prince of Wales has long noticed this cultural and utilitarian deficit and called on Adair to consult in his international mission, The Prince of Wales Foundation’s Artisan Training Program. “From tiles, to woodwork, to gilding, The prince has a keen interest in reviving lost arts,” says Adair. “When he found out I was teaching those things here, he contacted me.”

Adair’s last seminar took place at the Intersections D.C. American Arts Festival, through Atlas Performing Arts Center, on U Street. On the weekend of Feb. 27, Adair’s staff hosted two free interactive seminars, demonstrating and teaching the application of gold leaf to mirror frames.

If you missed that one, there are always more to come. Adair’s latest exhibition is currently on view at the Muscarelle Museum of Art, the museum for the College of William in Mary, in Williamsburg, Va., which he will accompany with a lecture and gilding seminar on Friday, March 16. Invited by Scholar-in-Residence John T. Spike, a noted art historian, author and lecturer specializing in Italian Renaissance and Baroque art, Adair has put together a show of “The 20 greatest frames from my private collection, representing the history of frames from Byzantine to modern.”

Accompanying the exhibition are the paintings of artist Kay Jackson, Adair’s wife and collaborator. An acclaimed painter whose work has been exhibited nationally and internationally, including a commission by President Clinton for the official White House holiday card in 1997, Jackson’s work has a long history of addressing environmental concerns such as endangered species, pollution and loss of habitat. Jackson frequently employs gold leaf techniques in her work, which she learned through her husband, and for the coming exhibition she has created gilded icons of endangered species, drawing parallels to the endangered craft of gilding.

A technically brilliant artist, Jackson has made more than just paintings in these gold leaf works. She has constructed intricate, cryptic, glowing panels and boxes, encasing the endangered animals — from crayfish and salmon to the spotted owl — in armatures of gold and surrounded by symbols that span eras and iconologies.

Jackson custom designs the frames for each work, inspired by 14th century panel paintings. She herself observes that her boxes are like 16th century cabinets of curiosities, those assembled by wealthy European collectors to celebrate and catalogue their knowledge of the world. Yet despite these callings upon the past, the works look entirely contemporary. Her pieces depict both the fragility and resiliency of our ecosystems and species, and connect the vulnerability of our planet with the delicacy of our artistic culture.
“Creating art is an act of faith,” says Jackson. “With each passing year it takes an increasing commitment to continue what most people think is a spontaneous and blissful activity.”

The sentiment is echoed in the work of her husband. Adair works daily to pull a near-extinct art form back from the fate of obscurity, just as Jackson puts her artistry to work to combat environmental threats. It is a bond that, in many ways, must move beyond love and into a commitment that bridges more than just the distance between two persons. They are committed to eight centuries of artistic traditions, the preservation of cultural heritage, life and ideas. As a gilder lays each feather-like sheet of gold leaf delicately to the frame, they approach their work with a focus that must be narrow and unwavering, but with a vision that sees into and beyond the picture as a whole.

For information about William B. Adair and Gold Leaf Studios, visit www.GoldLeafStudios.com. To get information on Adair’s exhibit and lecture at the Muscarelle Museum of Art and to sign up for his gilding seminar, visit web.WM.edu/Muscarelle. For information about other workshops hosted by Adair on gilding, frame history, or inquiries regarding framing or consultation, call Gold Leaf Studios at 202-833-2440. [gallery ids="100519,119175" nav="thumbs"]

Ari Post •

Just a few blocks from the Dupont Circle and McPherson Square Metro stations, the art galleries around 14th Street, between U Street and Logan Circle, hold some of the strongest collections of contemporary artwork in the city. Original, effusive, tasteful and energetic, the community of galleries in this area hosts work by new and emerging local artists as well as nationally and internationally renowned artisans. It binds communities and creates ambitious dialogues not only between the viewers and the works but among the artists. The common thread throughout the galleries, on top of its contemporary bent, is the impressive quality of the work. From the photographs of Annie Leibovitz to interactive sculptures with their own idiosyncratic attitudes, the works on view at these galleries should not be missed. And they’re all within a 15-minute walking radius. The weather is about to turn warmer, and there’s no better way to celebrate a nice Friday evening like a walk down the 14th Street galleries. Here’s what’s coming up.

Hamiltonian Gallery

Hamiltonian will feature the work of gallery artists Jenny Mullins and Sarah Knobel, March 17 – April 14, with an opening reception on Saturday, March 17, from 7 to 9 p.m. The drawings and paintings of Jenny Mullins, who recently completed a Fulbright Nehru grant in India researching spiritual tourism and traditional Buddhist Thangka painting techniques, explore the Western adherence to Eastern spirituality, while exploring notions of commercial mythology and consumer culture. They are “a world of low-budget mysticism . . . consumable, disposable and filled with the empty calories we crave.” The works are — perhaps ironically — gorgeous, engaging and meticulously rendered. The video art of Knobel explores individuality when forced through the sieve of cultural assumptions. The photos and videos in this exhibit are tied together by the use of origami, wherein Knobel focuses on its connections to ritual and spirituality.
www.HamiltonianGallery.com

Gallery Plan B

Five artists, all working with metal or metallic mediums in painting, etching, photography and sculpture, are featured in Gallery Plan B’s latest exhibition, “Precious Metals,” on view now through April 8. Andrew Wapinski layers gold and silver leaf with acrylic, graphite, pigments and resin resulting in substantial panels with visual and physical depth. Using photos of local scenes, Shelley Carr etches copper, then cuts and composes the copper pieces within a composition. Filmmaker Donna Cameron shifts focus of her film to the subject matter of photographs applied to aluminum surfaces. Mike McClung burns through layers of vellum into heavy paper underneath and treats the burned edges with metal leafs and layers them into whimsical patterns. Well known local artist Robert Cole will round out the group with a few of his whimsical, stylized steel sculptures. In addition, on the weekend of March 24-25, Tina Bark will be showcasing her jewelry designs from 1 to 4 p.m. each day.
www.GalleryPlanB.com

Project 4 Gallery

Rhode Island-based artist Paul Myoda’s latest works will be on view in the exhibition “Glittering Machines” at Project 4, from March 24 – April 28. A Yale MFA graduate, who has been awarded grants from the NEA, the Warhol Foundation and Howard Foundation, Myoda has been developing this series of interactive sculptures for several years now, out of his studio near Brown University, where he works as an assistant professor in sculpture and new media. “Glittering Machines,” writes Myoda, “are modular, kinetic, interactive, and illuminating sculptures. Each sculpture behaves in different ways depending upon the proximity and behavior of the viewer. Taking cues from various bioluminescent animals and insects, these behaviors range from attraction to repulsion, camouflage to revelation, predictability to spontaneity.”
www.Project4Gallery.com

Hemphill Fine Arts

“Gun Shy,” an exhibition by photographer Colby Caldwell, will open March 24 at Hemphill, with a public reception from 6:30 to 8:30 p.m. on Saturday, March 24. Caldwell’s photographs of depleted shotgun shells, abandoned buck blinds, found birds, feathers and abstractions derived from a corrupted film frame highlight his preoccupation with the relationship between photography and memory. “A photography embeds time, freezes it and carries it forward,” says Caldwell. His works, inspired concomitantly by the changing landscape of his rural Maryland home and by a corrupted frame of Super 8mm film of landscapes shot while traveling, conjure feelings of nostalgia and loss, serving as “epitaphs for the now antiquated film age that Caldwell himself mourns.” These beautifully alluring depictions of things discarded and left behind are captivating.
www.HemphillFineArts.com

Adamson Gallery

Master printer David Adamson, who lives and works locally out of his Adamson Gallery, was the man who made the archival pigment prints for photographer Annie Leibovitz’s landmark exhibition, “Pilgrimage,” now on view at the Smithsonian American Art Museum (for our coverage of that exhibition, visit www.Georgetowner.com and visit our Arts & Society page). If you would like to spend time with Leibovitz’s photographs outside of the crowded museum atmosphere and in a more intimate setting, Adamson is currently exhibiting a selection of her photographs in his gallery through March 24. This is a unique opportunity to get some “alone time” with one of the most lauded living artists working today.
www.AdamsonGallery.Jimdo.com [gallery ids="100521,119226,119185,119219,119212,119196,119205" nav="thumbs"]

Gary Tischler •

Now in its 41st year, the John F. Kennedy Center for the Performing Arts presents itself in a rush of contradictions operating in the same time and space. It’s a national center for the arts that feels at once elevated and eclectic, performance art for the high brow and the populist center, tuxedos and blue jeans. At once expensive and expansively free, it is a cultural shrine for all, and a place where education is as important as edification of the cultural palate.

It’s where you find Mickey Berra, the Kennedy Center’s vice president for production, who is in charge of everything that gets put on the center’s numerous stages and venues.

When “Cosi Fan Tutte” kicks off the Washington National Opera’s spring season Feb. 25, he will be the one that makes sure the acoustics work and the costumes are in place.

When the performance troupes from Eastern Europe come in for the “Music of Budapest, Prague & Vienna” festival on that very same day, Berra will make sure they all have what they need when it starts.

Berra, on the operations level and in his own way, keeps the place running smoothly. As much as anybody, he is the face of the Kennedy Center, having been present since its foundation in 1971. From stagehand at the Opera House to his current standing, Berra is a walking, talking collective memory of the Kennedy Center.

If cops bleed blue, Berra bleeds the deep red of the Kennedy Center’s carpets. Get him going, and he doesn’t stop. “There’s no performing arts hall like it anywhere in the world, not in terms of everything we do here,” he says. He rattles off the names of all the venues: the Opera House, the Eisenhower, the Concert Hall, the Theater Lab, the relatively new Children’s Theater, the Millennium Stage spaces, the Concert Hall, the Terrace Theater and the Jazz Club.

“It’s like a big city,” he says. “And the venues, they’re the neighborhoods.”

He came to Washington in the 1960s with his brother Tommy — who would eventually run operations at the Ford’s Theatre before retiring — from a family that worked in carnivals.

Berra, 66, has two grown children and has been married for 35 years to the love of his life, Marcy. “I hit the lotto jackpot, there, let me tell you”, he says. He has met many of the people who have passed through the Kennedy Center over the years: the actors, the dancers, the musicians the opera singers, the international figures, the writers and directors.

“Sometimes you look at all this, and it’s still hard to imagine where I am,” he says.

We’re all sitting around backstage talking, pointing at the haunting, memento-filled walls at the Opera House, where Berra rose from regular stagehand to head stagehand, where I played ping-pong with stagehands and spoke with Berra years ago when “Les Miserables” first came to town.

Although Berra is in charge of all of the stages now, you can tell that the years spent at the Opera House remain dear to his heart.

He loves the dancers, the Barishnikovs, the ballerinas, the Russians. “I know we like football and all that stuff, and we love our ballplayers. But for my money, there are no better athletes than ballet dancers. And Barishnikov I think was the best. When the Russians — the Bolshoi, the Kirov, all of them — when they came, sometimes we’d have them over to the house and ply them with pizza. They loved pizza.”

Names roll out: Princess Margaret, Paul McCartney, Carol Channing, Lauren Bacall, Leonard Bernstein, Cate Blanchett. But when Berra talks about big stars and artists, he never gives the appearance of dropping names to impress you. He’s sharing the richness of his life, still amazed after 40 years here. He often gives backstage tours to groups, he says. It’s all just part of his resume and life. There probably isn’t a person working in Washington who’s more experienced in terms of actual dealings with the performance arts and the artists and designers who occupy its world.

Mickey — he says no one calls him Michael — talks about looking forward to “Memphis,” the musical about Elvis, Johnny Cash and a ground-breaking recording at Sun Studios, and prepping for the upcoming music festival.

Berra is a pro. As a big part of the Kennedy Center’s heart and soul, he is thus the heart and soul of what we experience here as our cultural heritage. But Berra isn’t the type of guy to put on airs. He’d rather put on a show or tell you a story. “I’m older,” he says. “But this . . . this never gets old.” [gallery ids="100508,118488,118482" nav="thumbs"]

Gary Tischler •

What do people outside of Spain think of when they think of Spanish culture?

For certain, Don Quixote, the gallant knight who tilts at windmills, the singular creation of Cervantes, from Spain’s golden age. Flamenco, for sure. In the passionate sounds of dancing and guitar, it’s as if the soul of a nation were revealed in its music and embrace in its dance.

There are giants of art—the great painters who pioneered and pushed forward the form from El Greco to Goya to Picasso to Miro, comprising a pantheon all their own, always looking into the future, even as they become legends of the past.

If you are any kind of student of film as art than it is hard to forget Buñuel and Almodóvar, both revolutionary and provoking in their own ways, the one building a bridge to the works of the other.

But what about the great flamenco singers, and the Flamenco Project? What about the work of the great Spanish photojournalist Jordi Socias? Or the startling work of Albert Schommer? Have you ever heard of Pacio Lucia, Spain’s great contemporary composer and musician? Or Don Quixote re-appearing as a children’s hero? Have you been to Gala Hispanic Theater or heard of Carmen Cortes, Rafaela Carrasco, Olga Pericet?

Do you know about “We Made This: Spanish Post Digital Creation Culture”?

Somewhere along the way, Washingtonians have probably encountered various aspects of Spanish culture like some of the aforementioned events, projects and artists over the past few years, especially since the spring of 2011, when an ubiquitous logo and emblem started to make its mark in the city.

“Spain Arts & Culture,” a brand in a logo of what seems to be swirling stone, takes you into the rest of the story. And the color red, as in Spain Red, the Spanish Cultural Network, takes you deeper still and the rest of the way.

“Spain Arts & Culture” is an expression of Spanish culture, a way to promote all aspects of Spanish culture on a broad, widespread scale throughout the United States in key cities on a biannual basis, singling out, marketing and promoting Spanish cultural events, exhibitions, performances and projects to the public. As a full-scale effort, “Spain Arts & Culture,” and its social network companion Spain Red, is singularly modern in form, keenly conscious of the opportunities for networking, marketing and promotion provided by the digital age.

“The key elements of this effort are the importance of branding and design, the pre-eminence of online communication and marketing and the important value we place on our partnerships with local institutions,” said Guillermo Corral, the Cultural Counselor and Head of the Cultural Office of the Embassy of Spain in Washington. Corral is the de facto man in charge of this effort, a veteran cultural diplomat who was appointed the first Director of the Directorate General for Cultural Policy and Cultural Industries within the Spanish Ministry of Culture in 2008, a position which he held until coming to Washington, and one that gives him the cache, experience and gravitas to speak with authority and act with authority on the subject of Spanish culture.

The effort across the United States, involving dozens of cities, is to promote Spanish culture in such a way that it combines the old and new, the traditional and the cutting-edge products of the culture. Through the form of every available marketing tool — including, so far, three edgy, splashy and comprehensive catalogues — the program embraces culture in the largest senses of the word. It includes Spanish urban culture, design, architecture, fine arts, film, Spanish heritage, performing arts and literature as well as food and fashion components. This spring and summer season involves cities allacross the United States, spearheaded through Spanish consulates, or cultural organizations, among them Washington, D.C., where the initial effort had its origins. New York, Dallas and Houston, Los Angeles, Puerto Rico, Miami, Seattle, San Francisco, Boston and Chicago are also participating.

“I believe firmly in forming partnership through all available means,” Coral said. In this sense, he serves as coordinator, facilitator and creative force for promoting Spanish culture in the United States and especially here in Washington. “This is a very urban, international city, among many of its aspects. The dining opportunities, for instance, offer so many world flavors. The cultural opportunities are enormous here, very modern, but also respectful of tradition. Spanish culture, to me, is that best of combinations. It is a country that was, in its days of empire and exploration, very much in the position of the United States today. We live in a different world, of course, with great economic difficulties, but that makes it both a reward and a challenge to promote our culture for me.”

Corral, 40, married with two young children, comes from Valladolid, a city of 500,000 near Madrid. “It’s small, by some standards,” he said. “I had a very good upbringing, but I left as soon as I could. Spain is a country of big cities, big ideas. It’s building very much a new culture for a new world, and I think that has been a tradition, this pushing the new forward.”

If you look at some of the spring-summer offerings in Washington alone, you can get a feel of that ebb and flow, of old and new, tradition and progression. There’s the ongoing comprehensive and revealing exhibition of Picasso’s drawings now at the National Gallery of Art, which will soon be joined by “Joan Miro: The Ladder of Escape,” another major exhibition of 120 paintings.

There is Paco De Lucia, a renowned composer and performer, who will be showing up at the Music Center at Strathmore to perform “En Vivo” on April 18.

“For myself, I think I’m partial to new things, new ways of doing things. It’s exciting to be working on some of the things we are doing,” Corral said. “This time, I am attracted to ‘We Made This: Spanish Post-Digital Creation Culture.’ This is a huge design festival of the work of younger Spanish artists working in the digital field, exploring endless opportunities and vistas.”

The show will be at the Hirshhorn Museum and Sculpture Garden this June.

“We work with many of the local institutions,” he said. “It’s a must and a hallmark of what we do. For instance, there is an exhibition of the works of Spanish-American artists working in New York, showing at the Art Museum of the Americas.”

It’s when you look at the Washington venues for “Spain Arts & Culture” that you get a sense of the ambition, the fertile variety and scope of the project. During spring and summer, there’s Teatro de La Luna’s annual Theatre Festival, which will feature a Madrid Theater company, as well as a children’s version of “Don Quixote” at Gala Hispanic Theatre. A major Flamenco Festival is just now concluding, focusing on the critical singing aspect of the flamenco’s form. An entry in the upcoming Environmental Film Festival is also part of the project, along with a Spanish entry in the D.C. Street Festival and a performance in May at the Millennium Stage at the Kennedy Center.

In May there will be a Spanish entry in the Kids World Cinema Festival, and in June we can expect to see the Sounds of Catalonia at the National Gallery of Art and the Kreeger Museum. Entries in the 2012 Silverdocs Film Festival at the AFI Silver Theatre in Silver Spring and the 2012 Euro Asia Shorts festival, will also be on view through the month of June at embassies throughout Washington.

The works of Schommer, a dramatic portrait photographer of considerable note, are now on display in the Embassy of Spain.

“We launched the ‘Spain, Arts & Culture’ program about a year ago,” Corral said. “It was the logical outcome of the ‘Preview Spain, Arts & Culture’ programs that were started by my predecessors. It incorporates their efforts and some of my own ideas about how best to undertake cultural promotion in these times.

“I have been impressed with so many of the people I have been working with in the city,” he said. “There’s the entire Smithsonian Institution, there’s the National Gallery of Art, there’s Jack Rasmussen at the Katzen Center at American University, Paul Emerson, Theo Adamstein from Photoweek DC, and many, many more. Of course, the really amazing man is Jose Andres, who has done so much to promote Spanish food in this country.”

The international community as a whole is an undeniably, but often forgotten, cultural presence in the Washington community. Spain and Guillermo Corral with the “Spain Arts & Culture” program may be showing the way toward embracing the onrushing future as a way of promoting culture. [gallery ids="100526,119390,119364,119383,119371,119379" nav="thumbs"]

Georgetowner •

Arlington Food Assistance Center’s 2012 Benefit Reception focused on raising support for their Annual Fund while celebrating the successful conclusion of AFAC’s Permanent Home Campaign. The goal for this year’s gala was $135,000, and the funds raised at this event will allow AFAC to continue meeting the growing demand for food assistance in Arlington. Photos by Aaro Keipi, (http://www.aarograph.com)[www.aarography.com] [gallery ids="100608,100609,100610,100611,100612" nav="thumbs"]

Mary Bird •

Chef Viktor Merényi of the Embassy of Hungary took top honors at the fourth annual Embassy Chef Challenge held March 8 at the Ronald Reagan Building and International Trade Center. Merényi served slow-cooked beef with transitional Hungarian accompaniments for 600 guests and a panel of celebrity judges. The annual event benefits Cultural Tourism DC, an independent coalition of more than 230 community-based organizations which showcases the city’s rich and diverse culture and heritage. [gallery ids="100613,100624,100623,100622,100621,100620,100619,100618,100617,100616,100615,100614,100625" nav="thumbs"]

Mary Bird •

Ambassador of Costa Rica Muni Figueres, the honorary patron at the Latino Student Fund’s 12th Annual Gala at the Organization of American States, lauded the fund on March 14 as a fantastic vehicle for the vindication of the Latin spirit. This year’s theme “Color Caribe” highlighted Costa Rica with its Latin music, cocktails and food. Festivities benefitted the LSF’s mission to provide academic opportunities for students of Hispanic/Latino descent from pre-Kindergarten to 12th grade and to promote higher education and professional leadership. [gallery ids="100626,100627,100628,100629,100630,100631,100632,100633" nav="thumbs"]