During the last week of “Coming to Light, Encaustics by Angela White” and “NOMAD, The Art of Alonzo Davis“, the Schlesinger Art Galleries is hosting a special public presentation of Confluence 2019, the DC region’s annual publication of critical writing on the visual arts on Tuesday evening from 6:30pm The speaker is Phil Hutinet, the publisher of East City Art.
CONFLUENCE: Two Rivers One City Public Presentation
East City Art, DC’s visual arts publication of record, has released its second annual anthology of critical writing titled CONFLUENCE: Two Rivers One City. The 30 essays of the anthology present some of East City Art’s most compelling writing and document the DC region’s most prominent influences on regional visual arts culture.
The title of the anthology alludes to the confluence of the Potomac and Anacostia rivers which flow through the region affectionately known as the “DMV” (DC, Maryland and Virginia).
CONFLUENCE 2019 offers insight into DC’s art world with in-depth critical writing and full color photographs of work by local, national and international artists displayed at regional galleries, museums and art spaces.
“The dedication of the East City Art writing staff to publish serious art criticism has never been stronger. Articles with ample discussion make ECA an alternative to the condensed and often superficial reviews offered elsewhere of gallery exhibits,” explains Editor-at-Large and Claudia Rousseau, Ph.D.
Publisher Phil Hutinet will present an overview of the reviews in CONFLUENCE 2019 while highlighting examples of work by local artists published in the anthology. During and after the presentation, audience members will have the opportunity to participate in the discussion and ask questions.
Phil Hutinet, a third generation Capitol Hill resident, is the publisher of East City Art, DC’s Visual Arts publication of record, which he began in 2010. In 2012-2013, his consultancy work east of the river yielded the Anacostia Playhouse, Craig Kraft Studios, the Anacostia Arts Center and the 2012-2013 LUMEN8ANACOSTIA festivals. In 2015, 2018 and 2019 he acted as the Gateway Open Studio Tour coordinator. From 2013-2018, he produced EMULSION, East City Art’s regional juried show and has produced over 150 local exhibitions in his career as a gallery owner and director. Currently, he oversees the ECA Foundation’s Critical Arts Writing and Research Program which produces an annual anthology titled CONFLUENCE: Two Rivers One City. Hutinet has been interviewed by or has made appearances on the BBC, Capital Community News, Euronews, Washingtonian Magazine, Washington City Paper, The Washington Post, WJLA ABC News Channel 7/Channel 8, WTOP and other local, national and international media.”
The Rachel M. Schlesinger Concert Hall and Arts Center at Northern Virginia Community College’s Alexandria Campus will welcome the art exhibition Quieting Change, Stilling Motion by Regina Miele to its Forum Gallery. The show will be on display from Sept. 22 to Nov. 5 with an opening reception from 2 p.m. to 4 p.m. Saturday, Sept. 23.
In partnership with the Alexandria Campus’ Rachel M. Schlesinger Concert Hall and Arts Center, the Richard J. Ernst Community Cultural Center at Northern Virginia Community College’s Annandale Campus will display a series of printmaking artworks created by 13 D.C. metro area artists. The show, The Language of Impressions, will be on display in the Ernst Community Center’s Verizon Gallery from June 1 to June 30 with an artists’ reception from 2 p.m. to 4 p.m. Saturday, June 3.
Artists participating in the show include Cheryl Edwards, Joan Belmar, Adjoa Burrowes, Helen Frederick, Amelia Hankin, Azia Gibson-Hunter, Maroulla Morcos, Lisa Rosenstein, Anne Smith, Hendrik Sundqvist, Alec Simpson, Michelle Talibah and Nikki Whipkey.
Cheryl Edwards and Exhibition Director Mary Welch Higgins organized and curated the show. The Ernst Community Cultural Center is located at NOVA’s Annandale Campus, 8333 Little River Turnpike, Annandale, VA 22003.
The art galleries at the Rachel M. Schlesinger Concert Hall and Arts Center are excited to welcome and introduce chromesthetic artist Lonnie Pauls. She will open her first ever solo show Chroma on Feb. 3. Her artwork will be on display in the Passage Gallery of the arts center through March 12, with an artist’s reception from 2 p.m. to 4 p.m. Saturday, Feb. 11.
***Tackling real and imagined hurdles for the sake of art***
This past year of shows at the Schlesinger Center have been an eclectic showcase of our regional talent. The design of the galleries at the Schlesinger lend themselves to a visual dialogue between the artist’s exhibits. It’s been a joyous blast to be an exhibition organizer and bring these shows to the arts community but also to the students and staff of Northern Virginia Community College.
Much love to the brilliant and hardest working local artist Shanthi for the loan of four paintings in January and February of 2016. The works created a seamless transition to Al-Mutanabbi Street Starts Here. Shanthi’s show “Cosmic Design” also ended our 2015 season.
Al-Mutanabbi Street Starts Here – “Storytelling/Global Narratives”
This was a group show that showcased some local arts leaders behind the D.C. Al-Mutanabbi Street Starts Here Festival. I called it the “blizzard” show since our drop off times for the work were scheduled right as the blizzard of 2016 landed in Washington. But we made it work!
Jessica Kallista‘s “Dear Suburbia”
A solo exhibition by a mixed media collage artist and arts instigator behind Olly Olly. Jessica’s show was gives the viewer a mysterious, at times humorous but ultimately, devastatingly beautiful look at the shadow side of suburbia. Art is everywhere.
The BunnyMan Bridge Collective
The Schlesinger Center galleries were delighted to bring this Northern Virginia collective to the Passage Gallery. They were a surprise show and debuted during the reception for “Dear Suburbia.” Keep a look out for Toni Hitchock, Javier Padilla, Abner De Jesus and Jason Davis. You never know when you will find them.
Greg Braun‘s “Rhythm and Hues”
Greg brought in our first site-specific beauty in the Forum Gallery. His musical splash of color and inspired engineering of the installation lit the place on fire. I found out during the installation that Greg was a former Norther Virginia Community College student. We are both Corcoran graduates as well, so there is always that connection.
Catherine Day‘s “Ambit”
Catherine’s photographs moved me from the first time that I saw them at the Greater Reston Arts Center. Every day of her show, I saw the haunting landscapes on fabric floating in the Forum Gallery. There are mysterious images that draw you in and hold you. I particularly liked the use of antique fabric for the works. My favorites of Catherine’s work include the carnival images.
Aya Takashima‘s “In Passing”
Photographs from Aya’s series are brash moments in time where you can feel the silent gaze and exchange between Aya and her subject as she passes through the environment. She is a passenger in a vehicle capturing and activating a moment in time. It was a great feeling for me to bring her work to the attention of the local arts community.
The Small Collective’s “Defining Spaces”
We are all on some level engaged in the digital world. Russel Creger Barajas, Megan Leary and James M. Locke pursue their visions and dialogue of their environments using analog photography. The results are haunting moments of landscapes and interiors about family, home and the rural environment. Their personal memories entered our collective memory after viewing their work.
Mark Howe‘s “Precious Metals: Precious Visions”
Mark’s work displays a serious dedication to craft and a passion for the beauty of gold. Initial worries about displaying so much gold was overshadowed by the beauty and elegance of the pieces. The gallery glowed as we moved into summer and his work turned our second-level Fisher Gallery into an actual jewel box of unique treasures.
Color8art‘s “A Game of Consequences”
Our largest group show was an innovative approach. Color8art is a group of six women artists who are friends and professional artists. Their inspired concept was to apply the childhood activity – Game of Consequences – to a collaborative art project. I loved the idea of one artist placing a mark on a blank canvas and another artist taking that blank canvas and building on the mark to the point of completion.
***Showcasing the Power of Drawing***
Raye Leith‘s “Blueprints”
Raye’s show was the blockbuster of the summer. This was work of complex draftsmanship and beauty that yes, disorient the viewer, but compels them to look. The themes addressed include climate change, seismic activity and the industrial age’s impact on the person. “Blueprints” was a collection of large multidimensional works done in a highly charged blue palette.
Tanya Ziniewicz‘s “Évoluer”
Évoluer is a collection of ethereal works that came from direct observation of the natural world and evolved into otherworldly environments. Where did these tangled plant-like forms come from? Are we above ground or below?
Casey Snyder‘s Physical/Ephermal
Casey Snyder’s solo exhibition explored spaces and materiality. I loved how elements would slide off the picture plane yet remain completely integrated. She called into question how we look at the gallery space with the corner painting “Turn” and also blew visitors way with her use of transparency. Photographic quality was also used to describe these works.
Matthew Grimes‘ (IN)MATERIAL
A big thank you to Matthew for joining Casey and John to enhance the conversation about materiality, space and contemporary painting. I was excited at the opening to hear visitors go, “Mmmm…there is a conversation going on here with these show.” (A little fly on the wall action) These large-scale collage paintings echo the works of Robert Rauschenberg but also spring from a highly personal connection to the landscape of Matthew’s day-to-day experience. #matthewgrimesrevealed
John M. Adams‘ “Current Interrupted”
John’s abstract works in the Forum Gallery are inspired by his love of the natural world and perhaps the chaos and enchantment of being a new dad. His transformation of the gallery is a perfect transition to his site-specific piece that will come in early 2017.
***NOVA Fine Arts Professors***
Jessica Gardner‘s “Raising: Motherhood in Modernity”
Jessica works as a full-time art professor next door to the Schlesinger Center in the Tyler Building. We had several conversations over the year about how her work was changing. As an artist, it can be frightening to see your work change. One of my roles was to encourage her as she worked on the exhibit. We are both very excited by the success and resonance of this exhibit. Thank you to the community for your support.
Sherry’s sculptural works flow along the Passage Gallery. Oh, we have stories behind the installation of this work. All exhibits have a story. Each of Sherry’s spiral collages is a story of a particular stage of life. I have my favorites. and you will too. This show will cycle us into the New Year and will be on display through Jan. 29.
Special shout out to our small yet nimble team including the talented but “who me?” – technician/engineer, Nathan Devonshire – our lighting guru and installation consultant!
***The galleries at the Rachel M. Schlesinger Concert Hall and Arts Center has extended John M. Adams’ art exhibit “Current Interrupted.” His work will be on display in our first-level Forum Gallery through Dec. 18. In an effort to give more insight into Adams’ work, why he was compelled to create these dynamic pieces and what we can expect in 2017, the Schlesinger Center spoke with him about his artistic process.
Adams is also currently working on a site-specific wall drawing for the Schlesinger Center that will debut in January 2017. This wall drawing will be his largest to date, so check back on our blog soon for more details.***
Schlesinger: What was the inspiration for Current Interrupted? JMA: I’ve always been interested in the perceptual connection between artist, object and viewer. In this new body of work, I am continuing my exploration of the art object as a catalyst for contemplation and meditation for the viewer as well as the artist. In terms of imagery, I’m an avid outdoors man and find myself equally inspired by the structures of the natural world and of those of the suburban/urban environment in which I work. The format of this work was also influenced by the birth of my son, who was born earlier this year. He is with me everyday, so he spends quite a bit of time with me in the studio.
Schlesinger: Compared to your previous work, how is Current Interrupted different? JMA: The rhythm and atmosphere of my studio has been fundamentally altered because of my son. It’s no longer just me in the studio for hours thinking, looking, making marks. My time and attention are divided between him and the work. I quickly realized long painting sessions in which I got lost in my work were no longer a possibility. I had to find a way to be able to create continuity, flow and maintain focus in the paintings while working in five, 10 or 15 minute snippets of time.
As my son was becoming aware of his surroundings, I noticed he focused on patterns made of repetitive bars or rectangles (such as the sides of his crib). This led me to build off of some small studies I made 10 or so years ago but never explored; all of a sudden, they resonated with me in a new way.
I started making large paintings quickly, with scaled back color schemes (1-4 colors). The paintings were more saturated and intense than in much of my previous work – no doubt influenced by the colors that were grabbing his attention. I found myself paying particular attention to the micro-relationships of positive and negative space within the paintings. I then separated the paintings into strips 1.5-2 inches wide. Working one strip at a time, I reconstructed the painting, placing a portion of each strip on a new surface. Once the first strip is placed the next strip is chosen and edited based on the previous strip or strips.
To me it’s an intriguing process that allows me to keep the focused contemplative approach while being able to build the piece at an irregular pace in a number of sessions if needed. He was in the studio much of the summer when I made all of the work in this show. It’s completely changed the way I work and live.
Schlesinger: When people look at your work, what do you hope they get/learn from it? What kind of reaction were you going for when creating this body of work, and what kind of conversation do you hope it provokes? JMA: In this new body of work, I’m continuing my exploration of the art object as a catalyst for contemplation and meditation, for the viewer as well as the artist. Fluid marks are juxtaposed with the regulated rhythm of sharp horizontal line breaks, which creates a fluttering vibration and tension in the paintings. These elements pull me into exploring those relationships and I can spend some time with them, just looking. I’m interested in what happens when snippets of perception are edited, reconfigured and compartmentalized to give them new meaning through their relationship to the whole.
Schlesinger: A lot of artists say that a piece is never really complete. If anything, what would you change or do differently about this body of work? JMA: That’s part of what keeps artists going, the “what if” effect. I’ve got ideas about scale, color schemes and process that will lead to new work. I just have to see where it goes. I’ve continued to make new paintings using the same process, and I’ve got a big project coming up so…
Schlesinger: What should artists and admirers of your art expect next? Feel free to mention the upcoming wall drawing and any other projects, exhibitions, etc., that you have coming up in 2017. JMA: January 9-20, 2017, I’m installing a site-specific drawing in the atrium of the Schlesinger Center. It will be the first site-specific drawing in the art center and it will be my largest to date, reaching over 20 feet high and extending 30 feet at its widest point. I’m extremely excited about it. I’ll be launching a crowdsourcing campaign very soon and I’m sure you will see more information on this blog when it is live.
John M. Adams specializes in painting, drawing and site-specific work. His art can be found in private, public and corporate collections including in the Wilson Building at D.C. City Hall and the D.C. Art Bank Collection.
The art galleries at the Rachel M. Schlesinger Concert Hall & Arts Center at Northern Virginia Community College’s Alexandria Campus will display works by Professor Emeritus Sherry Trachtman. The Life Cycles exhibit will open in the second-level Passage Gallery Nov. 19. The show will be on display through Jan. 29 with an artist’s reception from 2 p.m. to 4 p.m. Saturday, Dec. 10.
Jessica Gardner’s art exhibit Raising: Motherhood in Modernity, will be on display in the Margaret W. & Joseph L. Fisher Art Gallery from Friday, Nov. 4 to Sunday, Dec. 18 with an opening reception from 1 p.m. to 3 p.m. Saturday, Nov. 12.
Gardner explained that since becoming a mother, her artistry and the way she approaches art has changed. Elements of motherhood and the good and bad of being a parent can be found in the ceramic pieces she created for the exhibit Raising: Motherhood in Modernity.
The Margaret W. & Joseph L. Fisher Gallery at the Rachel M. Schlesinger Concert Hall and Arts Center at Northern Virginia Community College’s Alexandria Campus will exhibit Casey Snyder’s mixed media artwork in the show Physical/Ephemeral, on display from Friday, Sept. 16 to Sunday, Oct. 30 with an artist’s reception from 4 p.m. to 6 p.m. Saturday, Sept. 24.
Casey predominantly works with mixed media materials in a two-dimensional format. Oil paint, spray paint, acrylic paint, ink, plastic and collage are many of the materials and processes employed in her works.