Foundry Gallery presents a group exhibition of small works by member artists which the gallery’s press release bills as “diverse, profuse and inventive.” Artists include Teresa Jarzynski, known for her more traditional landscapes, portraits and still life paintings; Hester Ohbi, whose acrylics expressively document the passage of time; Ann Pickett, who paints boldly colored, expressive compositions and for whom “line and light resonate” during the creative process; and Pete Seligman, who collages wood and other materials found during his hikes in Rock Creek Park which he then touches up with paint and other media.
Hemphill Fine Arts
Renee Stout presents her fifth exhibition with Hemphill Fine Arts, entitled “When 6 Is 9: Visions of a Parallel Universe.” Throughout her career as an artist, Stout has profoundly examined her African-American ancestry, using it as a source of inspiration in her work. The current political climate in the United States and abroad has amplified the artist’s exploration of history’s wrongs, as recent events have demonstrated that Americans are far from living in a post-racial society. In the parallel world where Stout seeks to take the viewer, she imagines a place where many of this nation’s wrongs are righted and a new covenant takes place between citizens and the government. Stout asks the viewer to make contact with her work through imagination, “to dream,” as she explains, in order to move into a new state of seeing. The artist hopes to transport the viewer to a place “where the spirits of mysterious colorful people … intersect in spaces teeming with possibilities.”
Stout has received numerous prestigious awards, and her work can be found in fine art museums across the United States and Europe.
Long View Gallery
The title of Long View Gallery’s current exhibition, “An Alternative to Logic,” refers to artist Paula Crawford’s difficult and tenuous recovery from a severe concussion that, according to the gallery’s press release, “affect[ed] the executive function of the right lobe of her brain.” The works painted between 2016 and 2018 reflect the artist’s struggle to regain her cognitive processes and make sense of the images she saw and over which she had no control as a result of her injury.
The artist explains her artistic process succinctly and somewhat poetically: “It was as if a strong wind had blown through my brain and scattered dreams and memories across the floor. Some were bright, others faded or torn around the edges. I decided to pick them up and paint them.” Crawford’s new series of oils on canvas provide insight into what people see, feel and experience as they recover from brain trauma.
Sally Canzoneri’s “Multiple Dimensions” continues the artist’s work with photography and image-making through the digital manipulation of subject matter, often cityscapes or architectural themes. In this series, Canzoneri works with a collection of photos captured in Milan. The artist seeks “to create an exhibit where viewers find even more dimensions, seeing beyond what is immediately apparent in the pictures – and in the world around them.” The exhibition includes two-dimensional works such as photographs and three-dimensional works like lenticulars – created through the process of combining two images to create depth, like a hologram – as well as sculptural artist books in which an image is folded like an accordion. As the viewer passes by the three-dimensional works, the images appear to move in the same manner as a reflection in the windows of a mirrored building.
Painter McCain McMurray has borrowed a quotation to entitle his most recent series of works. English essayist and critic William Hazlitt in 1816 reported a comment that J.M.W. Turner’s paintings were like “pictures of nothing.” Turner painted representationally, as one would expect from a late-18th, early-19th-century English painter. However, the landscapes, portraits and fierce marine battle scenes for which he is known often have abstract elements and, in some cases, appear almost completely abstract. While Turner moved from an existing subject, that is from the representational, to create more abstract and expressive paintings, McMurray does the reverse, painting abstract forms that seek to quote from represented ones, mostly memories or places, according to the artist.
Gallery Neptune & Brown
1530 14th St. NW
202-986-1200 | www.neptunefineart.com
Hours: Wed. to Sat., 12-7 p.m.
Through Oct. 14
“Blue Chip: Printmaking Masters”
Opening reception: Sat., Sept. 15, 5-7 p.m.
2118 Eighth St. NW
202-232-0203 | www.foundrygallery.org
Hours: Wed. to Sun., 1-7 p.m.
Through Oct. 28
Group exhibition “Less Is More”
1353 U St. NW
202-332-1116 | www.hamiltoniangallery.com
Hours: Tues. to Sat., 12-6 p.m.
Through Nov. 3
“new. now.” 2018 Hamiltonian Fellows Group Exhibition
Wed., Oct. 17, at 7 p.m.: Sera Boeno and Kaitlin Jencso
Tues., Oct. 30, at 7 p.m.: Rachel Schmidt and Luke Ikard
Hemphill Fine Arts
1515 14th St. NW
202-234-5601 | www.hemphillfinearts.com
Hours: Tues. to Sat., 10 a.m.-5 p.m.
Through Dec. 15
Renee Stout, “When 6 Is 9: Visions of a Parallel Universe”
Long View Gallery
1234 Ninth St. NW
202-232-4788 | www.longviewgallerydc.com
Hours: Wed. to Sat., 11 a.m.-6 p.m.
Through Oct. 21
Paula Crawford, “An Alternative to Logic”
901 New York Ave. NW
202-347-2787 | www.touchstonegallery.com
Hours: Wed. to Fri., 11 a.m.-6 p.m. | Weekends, 12-5 p.m.
Through Oct. 28
Sally Canzoneri, “Multiple Dimensions”
McCain McMurray, “Pictures of Nothing”
Artist talk: Sat., Oct. 27, at 3 p.m.
Phil Hutinet is the publisher of East City Art, dedicated to DC’s visual arts. For more information visit www.eastcityart.com.