Arts & Society

Mary Bird • May 3, 2012

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"]

Gary Tischler •

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Gary Tischler •

Washington experienced a wrenching and rare one-two weather punch in one week — an unprecedented earthquake followed by a hurricane.
The Washington National Opera Company had a year that was almost as momentous and earthshaking, but with much more salutatory results. In 2011, the company saw the resignation of its long-time maestro, Artistic Director Placido Domingo. This was followed this summer by the announcement of an Affiliation Plan by the WNO with the Kennedy Center, a far-reaching development that brings a great deal of stability, while adding the musical jewel that is the WNO to the Center. In addition it was announced that Francesca Zambello, a renowned director familiar to Washington audiences, was appointed the WNO’s artistic Advisor. No replacement has yet been named for Domingo.
That’s a lot of change and upheaval for any artistic institution, yet the WNO is preparing to start the 2011-2012 season with its production of Puccini’s “Tosca” Sept. 10 in an upbeat, high-energy mood.
“Obviously, the affiliation is a win-win for everyone,” said Christina Scheppelman, director of artistic operations for the WNO. “It’s been in the works and talked about for a long time and that makes it an exciting time for us. But the 2010-2011 season has been planned four to five years in advance and was in place already before all of this came about.”
With “Tosca” to be followed by Donizetti’s “Lucia di Lammermoor” in November, the WNO starts its season with two operas that are more operatic than most. “They’re very dramatic operas, they’re full of the kinds of devices and characters with over-the-top situations with grand, familiar, classic music and singing and arias,” Scheppelman said. In other words, they’re full of murder, tragedy, great passion and sacrifice and larger-than-life heroines and villains, not to mention suicide, madness and other sundry deeds on wind-swept battlements.
It’s familiar stuff, to be sure, and familiarity and popularity sometimes grates on critics who want to see more cutting edge stuff. “Our first responsibility,” Scheppelman said, “is to our audiences, and to make sure that we deliver artistic productions of the highest quality. So, yes, you’re going to see a ‘Madame Butterfly,’ but people forget that we’ve also, successfully I might add, done terrific productions of ‘A View from the Bridge’ and ‘Billy Budd’ among other more contemporary operas.”
Michael Mael, the newly appointed executive director, hailed WNO’s new affiliation. “It gives us all the resources which the Kennedy Center can bring to bear, plus we have the center’s president, Michael Kaiser, who has run an opera company, who has a great passion for opera, who is an exceptional representative and leader for the arts world-wide.”
“My responsibility is to make sure we have a world-class company and that we never sacrifice artistic excellence,” Mael said. “I came to opera relatively late, but when it happened, I fell in love with it”
Many of the programs put in place by Domingo remain including the Celebrity Artist series, which won’t begin until March with soprano Angela Gheorghiu. Domingo himself has not disappeared—he returns to conduct “Tosca” which will be directed by Dzvid Kneuss.
“Tosca” will also be part of the WNO’s hugely popular “Opera in the Outfield” series, in which a live performance of the opera will be simulcast to audiences at the Washington Nationals Park for free on Sept. 22.
“Tosca” is why Puccini, as a composer of classic opera, is the king, all Wagner devotees aside. Puccini has the three most popular, most enduring and tear-stained, high-drama operas ever written. And the music that goes with them lives outside them in familiar forms. Giacomo Puccini, as the composer of “La Boheme,” “Madama Butterfly” and “Tosca,” made an achievement something on the order of hitting 60 home runs three season in a row without the aid of steroids.
The promos call “Tosca” an “irresistible combination of passion, pathos and despair,” the trifecta of tragic opera. It includes the classic arias “Vissi d’arte” and “E lucevan le stele.” It stars the country’s top singing actors in soprano Patricai Racette as Floria Tosca, a hot-blooded singer placed in impossible situations trying to save her lover from the double-crossing, impassioned and lust-struck Baron Scarpio, performed by bass-baritone Alan Held. (Natalia Ushakova will sing Tosca Sept. 23).
There are nine performances on Sept. 10, 12, 14, 16, 20, 22, 23 and 24 and one matinee Sept. 18.
Donizetti may not have had as many super-legendary hits as Puccini (who has?), but he came up with one of opera’s most hysterical, hugely dramatic, over-the-top and, well, operatic, operas in “Lucia di Lammemoor.” Famous for its mad scene (see the late Joan Sutherland), a challenge to any living, high-note soprano in the world willing to take on the role. It’s directed by David Alden and double-cast with Russian soprano Lyubov Petrova and Sarah Coburn as the Lucias. There are eight performances Nov. 10 through 19.
Let the season begin.
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Gary Tischler •

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

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

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

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

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

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

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

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

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

ANDY (WARHOL) IS STILL DANDY

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

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

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

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

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

DEGAS AND MARIONI AT THE PHILLIPS COLLECTION

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

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

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

30 AMERICANS AT THE CORCORAN

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

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

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

MORE AT THE NGA

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

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

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

WPA’S OPTIONS 2011

The Washington Project for the Arts will present “Options 2011,” the 14th installment of its biennial exhibition of works by emerging and unrepresented artists from Washington, D.C., Maryland and Virginia (Sept. 15 through Oct. 19 at 629 New York Ave., 2nd floor).
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Mary Bird •

Fashion for Paws’ Tara de Nicholas and Jayne Sandman teamed up at Nectar Skin Bar and on Aug. 24 for a shopping event to benefit the Washington Humane Society. Known primarily for its annual Fashion for Paws Runway Show, in five years F4P has raised over $1.5 for the WHS through high profile events. Nectar Skin Bar showcases top beauty lines and pampering spa treatments in a stunning Wisconsin Avenue townhouse and garden oasis. Owners Amy and Brian Thomas, who also have Ipsa down the block, donated a portion of the evening’s proceeds to WHS. [gallery ids="99227,103549,103580,103554,103576,103559,103572,103564,103568" nav="thumbs"]