Arts & Society

Ari Post • May 3, 2012

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"]

Gary Tischler •

Everybody in Washington’s theater community will show up tonight for the 28th annual Helen Hayes Awards at the Warner Theatre, but that’s only the beginning for what this year is theatreWeek in Washington, which would be April 23-29.

Sponsored and spearheaded by theatreWashington, the D.C. group that supports, promotes and represents Washington area theatres, artists and audiences, theatreWeek will make its debut with a series of special events including Playtime, a series of events aimed squarely at children.

The Helen Hayes Awards and Ovation Gala at the Warner Theatre and J.W. Marriott Hotel kicks everything off, featuring awards that showcase the general and specific excellence of Washington’s theatre world, with special honors going to two-time, Oscar-winning actor Kevin Spacey.

On Wednesday, D.C. professionals and Washington theater-lovers hook up with “Show Tunes and Cocktails with Joshua Morgan” from 7 to 8 p.m. at Napoleon Bistro and Lounge in Adams Morgan.

On Thursday, it’s time for “Theatre Critics: It’s Only Their Opinion, What They Do and How They Do It.” (While not attending, I can be reached at The Georgetowner, if you want my opinion). Actually, it’s a conversation with Washington Post Critic Peter Marks and other critics from 7 to 8 p.m. (Location to be announced)

On Friday, you get a sneak peek at “In Rehearsal,” a new book by actor and director Gary Sloan, 5 to 6:30 p.m. at Bus Boys and Poets at 14th and V Streets, N.W.

And then there’s Playtime, with workshops, classes and tours for kids at 13 theatres throughout the region on April 22, 27, 28 and 29. Participating are Adventure Theatre, Compass Rose Studio Theater, Faction of Fools Theatre Company, Folger Theatre, Imagination Stage, National Conservatory of Dramatic Arts, the National Theatre, the Puppet Company, Round House Theatre, Shakespeare Theatre Company, Studio Theatre, the Theatre Lab and Toby’s Dinner Theatre.

Gary Tischler •

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.
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Gary Tischler •

Who would have thought that fur—event thinking about it, let alone wearing it—would be so popular in town, especially in this weather?

But when it’s “Venus In Fur,” playwright David Ives’ witty, hot – yes, hot – and, if you’ll pardon the expression, whip-smart take on Sacher-Masoch’s shocking 19th century novel about a stage audition, sexual and creative power struggles between an actress and director, people just can’t stop talking and going.

The production—one of the best and beguiling of the year anywhere—has been extended yet again on final time to July 31 at the Studio Theatre where you can watch a breakout performance by Erica Sullivan, in assorted nasty getups and with a range that creates whiplash in the audience. If you haven’t seen this show, by all means go. If you’ve already seen it, go again. David Muse, the Studio’s new artistic director is in charge here, and he handles matters with a deft, intelligent manner.

There’s more reason than “Venus” to visit the Studio these days. There’s the appropriately entitled “Pop,” a new musical-mystery-pop-show by Maggie-Kate Coleman and Anna K. Jacobs focusing on the heady (and final) days of Andy Warhol’s New York Factory scene, where Andy reigned supreme in his pursuit of putting sizzle in all things mundane and plain. If you’re interested in all things Warhol and pop art, this is your cup of tea (no sugar please), and if not it’s an education on a number of American obsessions, not the least of which is Warhol, who turned greenbacks and tomato soup into high and low art, and once made a day-long movie which had nothing but the Empire State building as its focus.

Warhol will be talked about and written about forever, so why not a musical? Especially if it has Warhol staple members in it like Candy Darling, Ondine and assorted would-be and not artists, hangers-on, feminists and girlies and whatever lies in between. Keith Alan Baker, the Studio’s pop-meister, directs with Hunter Styles and Jennifer Harris. “Pop” runs through July 31.

And speaking of the Studio Theater, we would be remiss if we did note the recent departure of David Cale’s “The History of Kisses,” a sweet, lovely string of pearls and tales performed by the one-man-show and playwright that is Cale. Less fraught with tensions and puzzles and less flamboyant than some of his previous work, this saw Cale pondering the puzzles of how people meet, love – or not – bounce and stumble into and out of other people’s lives.

An ocean theme—one of the characters was a man attending a gathering of sea shanty aficionados in California—carried the tide, so to speak, saw one woman meet an inarticulate Portuguese sailor for ship-board encounter that produced a son, if not lasting love, two gay men meeting cute and ending up deliriously in awe in front of a fish tank, an Australian land-wrecked at a seaside motel and a man remembering a wistful encounter with Judy Garland during a beach walk.

These stories pop up in my mind occasionally during a land-locked, hot summer. So sing a shanty to Mr. Cale.

The Millennium Stage, the Kennedy Center’s nightly series of free performances of music and dance has added something new for the hot month of August—it will offer a Happy Hour Series every Monday night at 6 p.m. On August 1, 8, 22 and 29, the Kennedy Center’s Atrium on the Roof Terrace will become a summer lounge with couches, a dance floor and a full bar. The Lounge will continue on August 15 at the Kennedy Center’s Grand Foyer.

It’s a different way to catch entirely characteristic performances that have been the hallmark of the Millennium Series. The Happy Hour Series includes singer Badi Assad, who presents a world flavor with an exotic mixture of ethnic sounds on August 1. DeboBand presents Ethiopian flavored music August 8. New Orleans singer/songwriter Mia Borders blends funk, soul and contemporary styles August 15. August 22 brings Alma Tropicalia and a tribute to the classic BrazilianTropicalia movement of the 1960s. On August 29, Rahim AlHash and the Little Earth Orchestra are on hand with its group of world musicians from Iraq, Brazil, Africa, Palestine and America.

And now for something completely different. At Georgetown University’s Davis Performing Arts Center and its Devine Studio Theatre, there’s a chance to see “The Omnivore’s Dilemma,” a world premiere production of an adaptation of Michael Pollan’s famed non-fiction book about how, why, where and what people eat in the modern world. It’s written, conceived and directed by Natsu Onada Power of Georgetown University, and can be seen July 27-29 and July 30 and 31. Check PerformingArts.Georgetown.edu for details.

Want to find something to laugh about—and God knows we all do? Check out the opening of D.C.’s new Riot Act Comedy Theater with a grand opening celebration of the city’s own star comedians, Big Al Goodwin, Tony Woods and Charles Fleischer, who perform at 801 E St. beginning August 11-13.
And we would also be remiss without mentioning, although we do it with some trepidation, the impending last performance of Cherry Red Productions, arguably the city’s filthiest—in a good way—theater company ever. We could produce some of the more memorable titles from the Cherry Red past as offered, but can’t. Suffice to say that Cherry Red offered—often in small and dark places—dark plays that had the whiff of a zeitgeist that combined the American 1980s with the worst and best times of Weimar Berlin. I think.

In any case, founders Ian Allen and Chris Griffin are closing out with a production of “The Aristocrats,” a stage version of what’s described as the dirtiest joke of all time. Cherry Red’s promised to do bad things to the joke, which also came in movie form with an all-star cast of potty-mouths like Sarah Silverman.

Look for it at the Warehouse Theater August 27 at 8:30 and 11 p.m.
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Mary Bird •

Oklahoma is not the only play enjoying a return visit this season. Constellation Theatre Company is bringing back Ramayana based on Indian mythology, which played to sold out houses at Source last year. The production, which will open a three-week run on Aug. 4, will reassemble half the cast and have the welcome addition of Matthew McGloin, who charmed in On the Razzle, playing the monkey Hanuman. On July 11, Constellation’s Artistic Director Allison Stockman presided over a design presentation introducing new and old members of the ensemble and showcasing Kendra Rai’s stunning costumes and two-time Helen Hayes Award winner Tom Teasley’s onstage music. Guests then mingled at a wine and cheese reception. [gallery ids="100243,106660,106656,106639,106652,106648,106644" nav="thumbs"]

Mary Bird •

Amy and Brian Thomas held a cocktail reception on July 12 to introduce their new Georgetown beauty emporium. Guests toured the two-floor “beauty and body retreat” and enjoyed canapés and cocktails by DC Taste in the landscaped garden. The first floor features rarely found product lines such as Becca Cosmetics, Butter London and GlamGlow. The second-floor offers top European and Asian spa treatments including Intraceuticals Oxygen Infusion facials, exclusive LashDip mascara treatments and Softsense gentle waxing from Italy. Interior designer William McGovern terms his design concept “nostalgic modern glamour,” in other words, stunning. The Thomases intend to expand in the Washington area in the next two years and then bring their luxury treatments to cities in Texas. [gallery ids="102537,120090,120100,120096,120081" nav="thumbs"]

Mary Bird •

On July 17, supporters of the Washington Animal Rescue League (WARL) raised their glasses as Board Chair Roger Marmet hosted a wine tasting at his Ripple Restaurant & Wine Bar in Cleveland Park. Proceeds from the event featuring delicious vegetarian and vegan hors d’oeuvres with wines from dog friendly vineyards will support the League’s Disaster Rescue Fund. WARL President and CEO Gary Weitzman expressed his appreciation and urged everyone to visit the League. The recently acquired 42,000-square-foot property adjacent to the current shelter will more than double the existing facility. The League’s goal through a capital campaign is to open the National Center for Rehabilitation for Animals to coincide with its centennial in 2014 in pursuit of its commitment for the “rescue, rehabilitation and rehoming of animals who have nowhere else to go.” [gallery ids="100245,106669,106678,106664,106682,106659,106686,106690,106654,106674" nav="thumbs"]

Mary Bird •

Children Uniting Nations (CUN) is a proactive organization created to bring attention to the plight of at-risk and foster youth. Children in foster care receive role-model support, guidance, a sense of community and awareness of the importance of education. In conjunction with CUN’s Fifth Annual Conference in support of foster youth mentorship gains in Washington on July 20, Lani Hay, Christine Warnke and Greg Houston hosted a private dinner at Neyla. CUN founder Daphna Ziman said, “our children are our future. We are simply the gatekeepers.” Jermaine and Randy Jackson have lent their support to the program in honor of Michael. At the following evening’s gala in the J. W. Marriott ballroom, Randy said, “we had parents who told us our dreams could come true.” Jermaine charmed the room with his rendition of “Smile,” Michael’s favorite song. Daphna thanked him, remarking, “there were moments that I heard Michael. You are continuing the dream.” — Mary Bird [gallery ids="99321,99322,99323,99324,99325" nav="thumbs"]

Robert Devaney •

When the rain came in the middle of dinner, as predicted, few fled the covered patio, getting splashed nonetheless, for the exquisite interiors of Clyde’s Willow Creek Farm Restaurant. It was that good — and full of flavor and camaraderie. On Aug. 6, Clyde’s Ninth Annual Farm Dinner led 85 guests on a local food sampling exercise. From local honey, veggies, clams and lamb to fine wines, the five-course dinner was an advocate for local farms and local buying. After all, it is a main event for the non-profit Slow Food D.C.

Willow Creek Farm Restaurant, managed by Paul Fox, lives up to the slow food creed. It has its own farm to start — along with four reassembled heavy-timber buildings, thanks to the collecting obsession of Clyde’s main man John Laytham. Spread out like a classic American inn, parts of the restaurant are a sight to behold inside and outside, reminding the D.C. visitor of images of 1789 Restaurant, Old Ebbitt and other Clyde’s places we know and love. The farm is a few minutes’ walk from the parking lot. As for the drive, Willow Creek Farm is in Ashburn (Broadlands), Va., and a straight shot due west on the Dulles Toll Road; be mindful of the street names once off the toll road.

After a tour of the farm and a beekeeper’s presention by Patrick and Diane Standiford, Clyde’s corporate chef John Guattery, a slow food enthusiast, welcomed the diners and let the servings begin. The menu included Chesapeake Bay soft-shell clams with ravioli (herbs from the farm next to us) in Blue Ridge Dairy butter; Roast Border Springs lamb (leg, rack and sausage); roasted peach semifreddo with the farm’s honey popcorn. Virginia wines — Rapidan River, Chrysalis Vineyards, Fabbioli Cellars, Hillsborough Vineyards — accompanied the dishes.

Later, shepherd Craig Rogers gave an impassioned defense of the world’s “oldest profession,” which has been looked down on throughout history. Rogers, a shepherd with a doctorate, had the guests laughing at his contemporary and Biblical insights. Renee Catacalos, former publisher of Edible Chesapeake magazine which folded, spoke of the need to extend the taste and nutritional benefits of the slow food and local farming movement to many people, especially those in schools and hospitals.

Friends, foodies and those who simply like to eat well all learned something about the care of farming, cooking and eating locally. For us city folk, it is no longer a far-away feast, thanks to the master designers of the complete food experience at Clyde’s. Let’s give them an old-fashioned Georgetown “huzzah!”
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Mary Bird •

Beating Washington’s killer heat was made easier on Aug. 4 as enthusiastic guests flocked to Morton’s in Georgetown where they enjoyed “Spa-Tinis” that included “Lean and Green” and “Skynny Blood Orange Cosmos,” each with less than 200 calories accompanied by signature hors d’oeuvres. Nectar Skin Bar and Aveda offered pampering. Lucky raffle winners received gift certificates to Georgetown spas and dinner for two at Morton’s. [gallery ids="102538,120059,120044,120050,120080,120093,120086,120074,120066" nav="thumbs"]