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OAS: Paisajes Humanos

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October at the Phillips

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UPDATED RELEASE
September 1, 2017
Media Contacts:
Amy Wike,
202.387.2151 x220

awike@phillipscollection.org

We suggest that you use zoom in twice to view this.

CALENDAR

October 2017
The information below was updated September 2017 and is subject to change.

IN THIS CALENDAR

Exhibitions

Phillips after 5

Events

Tours

Spotlight Talks

Music

General Information

EXHIBITIONS
Admission: $12 for adults; $10 for students as well as visitors 62 and over; free for members and visitors 18 and under
October 7, 2017
through

January 7, 2018
Renoir and Friends: Luncheon of the Boating Party
This special exhibition will focus on The Phillips Collection’s celebrated
Luncheon of the Boating Party (1880–81) by Pierre-Auguste Renoir and the diverse circle of friends who inspired it. The first exhibition to focus on this singular masterwork in more than 20 years, it is comprised of more than 40 carefully chosen works—paintings, drawings, pastels, watercolors, and photographs from public and private collections around the world—that reveal the story of Luncheon of the Boating Party and the artists and patrons who were instrumental in its creator’s success.
Admission for all other art on view: 

Weekends: $12 for adults, $10 for students as well as visitors 62 and over; free for members and visitors 18 and under; FREE weekdays, includes permanent collection

ALSO ON VIEW
Ongoing Moving Forward, Looking Back: A Collection Still in the Making: Selections from The Phillips Collection Archives
In 1921, Duncan Phillips established The Phillips Collection in his family’s 1897 house in historic Dupont Circle. From the outset, the museum has been dedicated to its founder’s vision to be “an intimate museum combined with an experiment station.” This selection of photographs, exhibition announcements, Christmas cards, letters, journals, and more from the museum’s archives reveal how The Phillips Collection has been an “experiment station” for nearly 100 years.
PERMANENT COLLECTION
Ongoing One of the world’s finest collections of modern and contemporary American and European art, the museum is home to Pierre-Auguste Renoir’s iconic Luncheon of the Boating Party, Jacob Lawrence’s epic Migration Series, and a chapel-like Rothko Room, as well as innovative new work by artists of today. Installations change frequently and are not chronological, sparking conversations across time and place.
PHILLIPS AFTER 5–October 5 

Reservations strongly recommended as this popular event tends to sell out in advance: www.phillipscollection.org/events. $12; $10 for visitors 62 and over and students. Members always admitted free, no reservation needed.

5–8:30 pm Finnish Kool
Enjoy an evening of art and tech from the cold north. Celebrate 100 years of culture and technology. Experience Finnish media art by artist duo IC-98, sip cool cocktails, sample Finnish food, find your favorite emoji, watch short films, and sing your heart out in a karaoke bar with Singa.
Gallery Talk 

6, 6:30, 7,

& 7:30 pm

15-minute focused discussions about works in the museum’s permanent collection
EVENTS
Film Screening
October 12

6 pm
Renoir (2012)
Set in the south of France during World War I, Renoir chronicles the last years of Pierre-Auguste Renoir’s life at Cagnes-sur-Mer. The film tells the forgotten story of Andrée Heuschling, also known as Catherine Hessling, who was the artist’s last model and the first actress in the films directed by his son Jean Renoir.
$12; $10 for students and seniors. Free for members. Includes admission to the special exhibition and a cash bar. Reservations recommended: www.phillipscollection.org/events
Conversations with Arists
October 19

6:30 pm
Amy Cutler
Amy Cutler creates exquisitely detailed narrative works through a pastiche of personal memories, political observations, and cultural insights. Inhabited mostly by female figures who perform enigmatic tasks and engage in impossible situations, Cutler’s works expose the emotional complexities of real life within a rich imaginary universe. Cutler will be in conversation with Dr. Lisa Freiman, Director of the Institute for Contemporary Art at Virginia Commonwealth University.
$12; free for students and members. Reservations recommended: www.phillipscollection.org/events
Creative Voices DC
October 25

6 pm
Riley Temple
Riley Temple will discuss his latest book
Aunt Ester’s Children Redeemed: Journeys to Freedom in August Wilson’s Ten Plays of Twentieth-century Black America. Temple demonstrates how Wilson uses language (including poetry and the blues) to bring each play’s characters to a point of redemption and freedom. Wilson employs fundamental theological doctrines to exhort Aunt Ester’s children to remember by whom and how they were free and made whole. Free; reservations recommended:www.phillipscollection.org/events
TOURS
Saturdays 

noon

Introduction to The Phillips Collection
Highlights from one of the finest collections of Impressionist and Modern American and European art.
Included in museum admission; free for members.
Sundays
1 pm
Introduction to Renoir and Friends 

Highlights from the special exhibition. Included in admission to special exhibition; free for members.

SPOTLIGHT TALKS
Tuesdays–Fridays
noon
Spotlight Talks
Focused discussion about works of art from the permanent collection or special exhibition.
Included in museum admission; free for members.
October 5
6 & 7 pm
Spotlight: Permanent Collection 

Focused discussion about works of art from the permanent collection. Included in museum admission; free for members.

October 12, 19, & 26
6 & 7 pm
Spotlight: Renoir and Friends
Focused discussion about works of art from the special exhibition.
Included in admission to special exhibition; free for members.
MUSIC
SUNDAY CONCERTS
Concerts are held at 4 pm. $40, $20 for members and students with ID (unless otherwise noted); includes museum admission for the day of the concert.
Reservations strongly recommended: www.phillipscollection.org/music

NOTE: While the Phillips undergoes a preservation project in the historic house until early 2018, concerts will take place next door in the Cosmos Club’s elegant Beaux Arts Warne Ballroom. Upon completion of the project, concerts will return to the Phillips’s iconic music room for the remainder of the season.
October 1 Alexander String Quartet
During their Phillips Music debut, the San Francisco-based Alexander String Quartet will perform works by Zoltán Kodály, Dmitri Shostakovich, and a new quartet by British composer Tarik O’Reagan.
October 8 Sergei Babayan
Pianist Sergei Babayan will make his Phillips Music debut with works by Vladimir Ryabov, J. S. Bach, Frédéric Chopin, and Sergei Rachmaninoff.
October 15 Ensemble 4.1
Ensemble 4.1 will make its DC debut with works by Francis Poulenc and Walter Gieseking for piano and wind instruments.
October 22 Seth Parker Woods
Cellist Seth Parker Woods will make his DC debut with works by J. S. Bach and Cambodian composer Chinary Ung.
October 29 Steven Osborne
Pianist Steven Osborne will make his Phillips Music return with a performance of Messiaen’s monumental cycle
Vingt Regards su l’Enfant-Jésus.
GENERAL INFORMATION
Location: 1600 21st Street, NW (at Q Street) 

Metro Red Line, Dupont Circle Station (Q Street exit), and via several bus lines,www.wmata.com

Information: 202.387.2151 or www.phillipscollection.org
Hours: Tuesday, Wednesday, Friday, and Saturday, 10 am–5 pm;
Thursday, 10 am–8:30 pm; Sunday, noon–6:30 pm
 

Café: Tryst at the Phillips: Tuesday, Wednesday, Friday, and Saturday, 10 am–4 pm; Thursday, 10 am–4 pm and 10 am–8 pm (during Phillips after 5 only); Sunday, noon–5:30 pm

Closed Mondays, New Year’s Day, Independence Day, Thanksgiving Day, Christmas Eve, and Christmas Day.

On the first Thursday of every month, daytime admittance ends at 5 pm due to the regularly scheduled Phillips after 5 events. Admission after 5 pm is restricted to members and Phillips after 5 ticket holders.

Please note that the original Phillips house is currently unavailable due to a thermal upgrade project. Special exhibitions and selections from the permanent collection are on view in the Goh Annex and Sant Building galleries, and the café, shop, and courtyard remain open. The Phillips house will be available again in 2018. More information here.

Connect: Blog: blog.phillipscollection.org 

Facebook: www.facebook.com/phillipscollection

Twitter: www.twitter.com/PhillipsMuseum

Instagram: instagram.com/phillipscollection

Free App: www.phillipscollection.org/apple or www.phillipscollection.org/android

# # # 

The Phillips Collection | 1600 21st Street, NW | Washington, DC 20009 |


 

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New AMA Collection Catalog launches Sept. 12

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HEMPHILL FINE ARTS

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LINLING LU

Chinese-American Artists Linling Lu’s second show with Hemphill Fine Arts. Features colorful circular paintings and some sculpture.

Sept 15th – Dec 16th

Washington, DC, 1515 14th Street NW, #300Map

Opening Reception: Friday, Sep. 15th, 6pm -8pm

Linling Lu

One Hundred Melodies of Solitude No. 119, 2017

Hemphill Fine Arts

$5,000 – 7,500

Contact Gallery

Linling Lu

One Hundred Melodies of Solitude No. 114, 2017

Hemphill Fine Arts

$7,500 – 10,000

Contact Gallery

Linling Lu

One Hundred Melodies of Solitude No. 118, 2017

Hemphill Fine Arts

Contact Gallery

Linling Lu

One Hundred Melodies of Solitude No. 117, 2017

Hemphill Fine Arts

$5,000 – 7,500

Contact Gallery

Press Release

Washington DC — HEMPHILL is pleased to announce the exhibition, LINLING LU, opening on Friday, September 15, with a reception from 6-8pm. The exhibition will remain on view through December 16, 2017.

A circle, seemingly easily understood, harbors one of our great mysteries. As young students we learned the area of a circle is described by the formula A = π r². Herein lies the irrational π, a transcendental number with a continual, nonrepeating decimal, never truly fixed, and always threating to expand or contract. From ancient to present times, we have been perplexed by the contradiction between our ability to determine, without a doubt, the exact area of a square and our inability to fit the uncertain circle into that square. ∏, with its continual nonrepeating decimal, will not allow it. Thus, the circle has a bewildering hold upon us. The persistent unfixedness of π suggests it, and all the circles it formulates are somehow beyond our space and time.

One Hundred Melodies of Solitude, Linling Lu’s ongoing series of circular paintings, sidesteps the usual artist-viewer dynamic. Her work connects in a different way. Generally one experiences an artwork as a message sent from the artist to the viewer. In our time, this has meant the creation of artworks bound by the rhetoric of personal expression. Lu’s circular paintings bypass this rhetorical position. To grasp the difference, one needs to look closely at the physical qualities of her paintings as well as the physical demands required to create them.

Circles and concentric circles are recurring motifs in modern and contemporary art. From Sonia Delaunay to Kenneth Noland to Gary Lang, the circle is a motif that artists have explored using numerous abstract styles, utilizing the circle as an armature upon which to hang personalized painting gestures. In all these efforts, the qualities of the application of paint, whether stained, textured, sloppy or neat, is essential to an aesthetic strategy. The way each circle is painted is a part of a larger personal statement. Lu’s circular paintings, neither impastoed nor stained, betray only the barest trace of their making. Beyond the simple materiality of paint and canvas, there are few traces of the artist’s brush, no fingerprints or signature gestures. Lu’s optical clarity draws attention away from her, getting out of the way of the experience of the color and the purity of the circles.

It is possible to misinterpret the precision of Lu’s circle as an effort to deny her own presence in the paintings. This is not the case. The personal has been moved to a place in time separate from the primary experience of the painting. Its absence is indicated by a lack of expressiveness in the handling of the materials of the painting, yet it is clear the paintings are handmade. Lu’s paintings elicit a secondary awareness of the physical control required to paint one perfect concentric circle after another without the aid of masking tape, airbrushes, or stencils on canvases large and small. Once this is realized, one apprehends her impressive skill, the intensity of her labor, and her extraordinary discipline. But the concentrated intention of Lu’s effort is the creation of an object free of the interference of personal expression for the singular purpose of our contemplation and meditation. What evidence there is of her hand is a reflection of her devotion.

Lu’s selection of colors, not limited by a stylistic palette, is a continually evolving exploration of nature’s grand and infinite variety. Her colored concentric circles rely upon π’s persistent unfixedness, so colors do not abut one another, but rather colors vibrate, expanding and contracting into one another, offering us a simple and direct path into one of the most fundamental and irreconcilable mysteries of living in our world. Through Lu’s nearly selfless labor, the painting becomes a kind of gift, an offering, from the artist to us.

Linling Lu was born in 1983 in Guizhou Province, China. In 2005 she received a bachelor’s degree in Landscape Architecture from Beijing Forestry University. Lu came to the United States in 2006 to attend Maryland Institute College of Art (MICA), Baltimore, MD, received a BFA in painting in 2008 and an MFA from the Hoffberger School of Painting, MICA in 2011. Her work is included in private and public collections nationally and internationally and the permanent collection of the US Embassy in Beijing. This is her second exhibition with HEMPHILL Fine Arts.

READ MORE

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The Phillips for September

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EXHIBITIONS
Admission: $12 for adults; $10 for students as well as visitors 62 and over; free for members and visitors 18 and under
through
September 3, 2017
Markus Lüpertz
The Phillips Collection presents the first comprehensive survey in the U.S. of the monumental works of Markus Lüpertz (b. 1941), the acclaimed German artist who helped chronicle and shape the postwar image of his country. Comprised of nearly 50 selections, the exhibition traces Lüpertz’s career from the 1960s to his most recent works, including major examples of his perplexing “dithyrambic” paintings and his provocative manipulations of German motifs. The exhibition is curated by Phillips Director Dorothy Kosinski in close collaboration with the artist and Michael Werner Gallery. Markus Lüpertzcoincides with the Hirshhorn Museum and Sculpture Garden’s focused exhibition Markus Lüpertz: Threads of History (May 24–September 10). Together, the two presentations form the artist’s first major U.S. museum retrospective.
Admission for all other art on view:

Weekends: $12 for adults, $10 for students as well as visitors 62 and over; free for members and visitors 18 and under; FREE weekdays, includes permanent collection
ALSO ON VIEW
through
September 10, 2017
Women of Influence: Elmira Bier, Minnie Byers, and Marjorie Phillips
Exhibited just outside the museum’s library, Women of Influence examines the critical roles played by three women in the Phillips’s history—Duncan Phillips’s executive assistant Elmira Bier, financial advisor Minnie Byers, and Phillips’s wife and museum co-founder Marjorie Phillips.
August 3
through
September 17, 2017
2017 James McLaughlin Memorial Staff Show
For more than 25 years, The Phillips Collection has held a staff show to feature the works of artists employed at the museum. In 1984, the staff show was endowed by the family of James McLaughlin, an accomplished still-life painter who worked at the museum for 50 years. In 1932, McLaughlin began his association with Duncan Phillips as a student at the Phillips Gallery Art School. Until his death in 1982, McLaughlin played an active role in the museum’s activities as a gallery preparator and curator.
Ongoing Moving Forward, Looking Back: A Collection Still in the Making: Selections from The Phillips Collection Archives
In 1921, Duncan Phillips established The Phillips Collection in his family’s 1897 house in historic Dupont Circle. From the outset, the museum has been dedicated to its founder’s vision to be “an intimate museum combined with an experiment station.” This selection of photographs, exhibition announcements, Christmas cards, letters, journals, and more from the museum’s archives reveal how The Phillips Collection has been an “experiment station” for nearly 100 years.
PERMANENT COLLECTION
Ongoing One of the world’s finest collections of modern and contemporary American and European art, the museum is home to Pierre-Auguste Renoir’s iconic Luncheon of the Boating Party, Jacob Lawrence’s epic Migration Series, and a chapel-like Rothko Room, as well as innovative new work by artists of today. Installations change frequently and are not chronological, sparking conversations across time and place.
PHILLIPS AFTER 5–September 7
Reservations strongly recommended as this popular event tends to sell out in advance: www.phillipscollection.org/events. $12; $10 for visitors 62 and over and students. Members always admitted free, no reservation needed.
5–8:30 pm Treat Yourself
After a busy summer, treat yourself to a calming evening at the Phillips. Listen to the relaxing sounds of Marshall Keys, participate in a meditation class with Take 5 Meditation Studio, or Zen out with mindful coloring and drawing.
Gallery Talk

6, 6:30, 7,
& 7:30 pm
15-minute focused discussions about works in the museum’s permanent collection
EVENTS
Conversations with Arists
September 14
6:30 pm
Michael Jones McKean
During a conversation with University of Maryland graduate student Beki Bash, artist Michael Jones McKean will discuss the nature of objects in relation to folklore, technology, anthropology, and mysticism as presented in his works. His complex installations and sculptures merge expansive but highly specific orderings of materials, processes, and substances. $12; free for students and members. Reservations recommended: www.phillipscollection.org/events
Art Workshop
September 21
6 pm
Draft ‘n’ Draw
Join the Phillips for a hands-on drawing workshop. Explore the galleries with a teaching artist, then head to the museum’s courtyard to learn basic drawing skills while enjoying a pint or two. $25; $13 for members. Includes art materials and museum admission. Reservations required: www.phillipscollection.org/events
Conversation & Book Signing
September 28
6:30 pm
Revolutionary Horizons: Art and Polemics in 1950s Cuba
Dr. Abigail McEwen, Associate Professor in Art History at the University of Maryland, discusses her book Revolutionary Horizons: Art and Polemics in 1950s Cuba with Vesela Sretenović, Senior Curator of Modern and Contemporary Art at The Phillips Collection. Dr. McEwen’s book offers the first in-depth examination of art in 1950s Cuba, when modernism in Havana reached its climax. During these turbulent years, a generation of artists embraced abstraction as a means to advance artistic and political goals in the name of Cuba Libre. Free; book signing to follow the discussion.
TOURS
Saturdays
noon
Introduction to The Phillips Collection
Highlights from one of the finest collections of Impressionist and Modern American and European art. Included in museum admission; free for members.
Sundays
1 pm
Introduction to The Phillips Collection
Highlights from one of the finest collections of Impressionist and Modern American and European art. Included in museum admission; free for members.
SPOTLIGHT TALKS
Tuesdays–Fridays
noon
Spotlight Talks
Focused discussion about works of art from the permanent collection or special exhibition. Included in museum admission; free for members.
September 7, 14, 21, & 28
6 & 7 pm
Spotlight: Permanent Collection
Focused discussion about works of art from the permanent collection. Included in museum admission; free for members.
GENERAL INFORMATION
Location:
1600 21st Street, NW (at Q Street)
Metro Red Line, Dupont Circle Station (Q Street exit), and via several bus lines,www.wmata.com
Information:
Hours:
Tuesday, Wednesday, Friday, and Saturday, 10 am–5 pm;
Thursday, 10 am–8:30 pm; Sunday, noon–6:30 pm
Café: Tryst at the Phillips: Tuesday, Wednesday, Friday, and Saturday, 10 am–4 pm; Thursday, 10 am–4 pm and 10 am–8 pm (during Phillips after 5 only); Sunday, noon–5:30 pm
Closed Mondays, New Year’s Day, Independence Day, Thanksgiving Day, Christmas Eve, and Christmas Day.
On the first Thursday of every month, daytime admittance ends at 5 pm due to the regularly scheduled Phillips after 5 events. Admission after 5 pm is restricted to members and Phillips after 5 ticket holders.
Please note that the original Phillips house is currently unavailable due to a thermal upgrade project. Special exhibitions and selections from the permanent collection are on view in the Goh Annex and Sant Building galleries, and the café, shop, and courtyard remain open. The Phillips house will be available again in 2018. More information here.
Connect:
The Phillips Collection | 1600 21st Street, NW | Washington, DC 20009 |

 

 

 

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The National Gallery of Art, Washington announces three additions to its 2018 roster

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The first exhibition of its kind, Sharing Images: Renaissance Prints Into Maiolica and Bronze (April 1–August 5, 2018) will bring together some 90 objects to highlight the impact of Renaissance prints on maiolica and bronze plaquettes. Focusing on designs by major artists such as Andrea Mantegna, Antonio del Pollaiuolo, Raphael, Michelangelo, Parmigianino, and Albrecht Dürer, the exhibition will tell the story of how printed images were transmitted, transformed, and translated onto ceramics and small bronze reliefs, creating a shared visual canon across artistic media and geographical boundaries.

Water, Wind, and Waves: Marine Paintings from the Dutch Golden Age (July 1–November 25, 2018) will celebrate the essential relationship the Dutch had with water through some 45 paintings, drawings, prints, rare books, and ship models. The exhibition will feature works by artists such as Jan van Goyen, Jacob van Ruisdael, Aelbert Cuyp, and Willem van de Velde the Younger. Scenes range from quiet harbor views, frozen canals, and calm seas to dramatic shipwrecks and fierce naval battles, revealing the full range of marine art during the Dutch Golden Age.

Following stops at the Tate Britain in London and 21er Haus in Vienna, Rachel Whiteread (September 16, 2018–January 13, 2019) will travel to the National Gallery of Art, one of the exhibition’s two organizers. As the first comprehensive survey of the work of British sculptor Rachel Whiteread (b. 1963) this exhibition will bring together some 100 objects from the course of the artist’s 30 year career, including drawings, photographs, architecture-scaled sculptures, archival materials, documentary materials on public projects, and several new works on view for the first time.

These three join an exciting schedule of exhibitions next year with Outliers and American Vanguard Art and the first exhibition to focus on the Estonian Renaissance artist Michael Sittow in January, Sally Mann: A Thousand Crossings and Cézanne Portraits in March, as well as many more.

 

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The Donald Duck Deck

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Today is our Red-Letter Day


Our New website is now ‘live’

&THE DONALD DECK
WILL BE FOR SALE ONLINE
AT ABOUT NOON TODAY!
Credit cards accepted

@www.TheArtofOurTimes.com

Tell everyone you know
about the Deck today
and soon enough,
he’ll be up the river,
far, far away.

It’s in the cards, baby. It’s in the cards.


TONIGHT
You’re invited to the Opening of
The Travel Ban Show

Oh Say, Can You See?   EMIGRE ARTISTS IN AMERICA + 1


New work by Joan Belmar / Anna Davis / Mikray Pida /KMRamich

TONIGHT 6:30-8 pm  / 1602  Seventh Street NW /  2nd floor  / 202-638-3612
ABOUT THE EXHIBIT: It is my hope and intention that this exhibit, which presents the work of three emigre artists now living in Washington (plus one U.S.-born artist whose Bigot Proof Vest seemed appropriate to include in this show at this time in our history), will help native born Americans, both inside and outside the White House, see the important contributions  which foreign-born artists make to our American culture and cultural life.

Charles Krause
TOP ROW ABOVE: America Series paintings by Joan BELMAR (Chile / U.S.)
MIDDLE ROW ABOVE: New painting by Anna DAVIS (Sweden / U.S.)
BOTTOM ROW ABOVE: New paintings by Mikray PIDA (China / U.S.)


+1 BELOW: Bigot Proof vest by KM RAMICH (U.S. / U.S.)


Copyright © 2017 Charles Krause/Reporting Fine Art, All rights reserved.
You are receiving this because you expressed interest in Charles Krause Reporting Fine Art

Our mailing address is:

Charles Krause/Reporting Fine Art

1300 13th Street NW
105

Washington, DC 20005

 

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At HEMPHILL: “35 Days”

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35 DAYS
June 24 – August 11, 2017

HEMPHILL is delighted to announce the exhibition 35 Days, showcasing both contemporary and historical works. Artists on view will include Leon Berkowitz, William Christenberry, Steven Cushner, Thomas Downing, Torkwase Dyson, Sam Gilliam, James Huckenpahler, Hedieh Javanshir Ilchi, Linling Lu, Robin Rose, Anne Rowland, Renée Stout, Emma Tapley and Julie Wolfe. The opening will be celebrated with an afternoon reception held on Saturday, June 24, 2-5pm. The exhibition will be on view through Friday, August 11.

HEMPHILL was founded in Washington DC in 1993. The exhibition schedule features modern & contemporary art in all media by artists ranging from emerging to mid-career to modern masters.

  • GALLERY HOURS
  • Tuesday–Saturday, 10:00am–5:00pm, and by appointment
  • Please note the gallery will be closed July 1 – 4 in observance of Independence Day. Gallery hours in August are Monday – Friday, 10:00am – 5:00pm.
Image: Steven Cushner, Back & Forth and Back & Forth and Back & Forth, 2017, acrylic on canvas, 44″ x 34″

HEMPHILL
1515 14th St NW
Washington DC 20005
tel 202.234.5601
hemphillfinearts.com

 

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Carroll Street Gallery: It was all a dream

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June 23-August 25


Opening Friday, June 23, 6:00 – 8:00pm

The space we inhabit between dreams and waking life can often feel surreal. The rules of the physical world can be broken, disbelief set aside, and tricks of the mind performed with ease. While entering consciousness, we may ask ourselves, “Was it all a dream?” Even our waking lives can prove to be as chaotic and disorienting as this dream-state. In this exhibition three artists address the sensation of existing in a dreamlike state as it relates to their personal experiences and the world at large.

Roxana Alger Geffen calls upon the chaos of domestic life in her installations and wall constructions, using textiles and found objects. Her work is both a humorous celebration and an uncanny manifestation of every day life as a mother. Rives Wiley’s purely two-dimensional paintings evoke a disorienting sense of unease in architectural space. The figures in these works are trapped, but unaware that they exist only partially or may never be able to escape the confines of the canvas. Dave Eassa’s thickly painted pink figures engaging in various activities read as cartoonish, yet represent the deeper identities of the psyche. The figures are navigating not only the physical world, but also the emotional content of the self.

Each artist addresses the absurdity of the social, political, and societal constructs that exist in the real world, in dreams, and somewhere in between.

Carroll Square Gallery
975 F Street NW, Washington DC 20004
202.347.7978
www.hemphillfinearts.com

Gallery Open During Business Hours
Monday through Friday, 8:00am – 6:00pm

Image: Rives Wiley, Raindrops on Noses, 2016, oil on panel, 48″ x 36″


 

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2018 A.W. Mellon Lectures, NGA: “The Forest: America…”

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The Sixty-Sixth A. W. Mellon Lectures in the Fine Arts

The Sixty-Sixth A. W. Mellon Lectures in the Fine Arts
Alexander Nemerov, Stanford University

The A. W. Mellon Lectures in the Fine Arts were established in 1949 to bring to the people of the United States the results of the best contemporary thought and scholarship bearing upon the subject of the fine arts

2018 dates

  • The Forest: America in the 1830s
    Herodotus among the Trees
    March 26 at 2:00
    East Building Auditorium

  • The Forest: America in the 1830s
    Herodotus among the Trees
    (screening of the A. W. Mellon Lecture of March 26)
    March 29 at 12:00
    East Building Small Auditorium

  • The Forest: America in the 1830s
    The Tavern to the Traveler: On the Appearance of John Quidor’s Art
    April 2 at 2:00
    East Building Auditorium

  • The Forest: America in the 1830s
    The Tavern to the Traveler: On the Appearance of John Quidor’s Ar
    (screening of the A. W. Mellon Lecture of April 2)
    April 5 at 12:00
    East Building Small Auditorium

  • The Forest: America in the 1830s
    The Aesthetics of Superstition
    April 9 at 2:00
    East Building Auditorium

  • The Forest: America in the 1830s
    The Aesthetics of Superstition
    (screening of the A. W. Mellon Lecture of April 9)
    April 12 at 12:00
    East Building Small Auditorium

  • The Forest: America in the 1830s
    Animals Are Where They Are
    April 23 at 2:00
    East Building Auditorium

    Immediately following the lecture Alexander Nemerov will be available in the atrium to sign copies of his recent books: Ralph Eugene Meatyard: American Mystic (2017), Soulmaker: The Times of Lewis Hine (2016), and Silent Dialogues: Diane Arbus & Howard Nemerov (2015).

  • The Forest: America in the 1830s
    Animals Are Where They Are
    (screening of the A. W. Mellon Lecture of April 23)
    April 26 at 12:00
    East Building Small Auditorium

  • The Forest: America in the 1830s
    Emerson, Raphael, and Light Filtering through the Woods
    April 30 at 2:00
    East Building Auditorium

  • The Forest: America in the 1830s
    Emerson, Raphael, and Light Filtering through the Woods
    (screening of the A. W. Mellon Lecture of April 30)
    May 3 at 12:00
    East Building Small Auditorium

  • The Forest: America in the 1830s
    The Forest of Thought: On the Roof with Robert Montgomery Bird
    May 7 at 2:00
    East Building Auditorium

  • The Forest: America in the 1830s
    The Forest of Thought: On the Roof with Robert Montgomery Bird
    (screening of the A. W. Mellon Lecture of May 7)
    May 10 at 12:00
    East Building Small Auditorium

LECTURE SCREENINGS

In anticipation of high attendance, the six lectures in this series will be video recorded. A screening of the recording will be shown the Wednesday after each lecture in the East Building Small Auditorium at 12:00 p.m.

 

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NGA, Starting October 22, 2017: Vermeer and the Masters of Genre Painting: Inspiration and Rivalry

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More than 20 years after the legendary exhibition Johannes Vermeer, the National Gallery of Art, Washington, will present Vermeer and the Masters of Genre Painting: Inspiration and Rivalry.

On view in the West Building from October 22, 2017, through January 21, 2018, the exhibition will examine the artistic exchanges among Dutch Golden Age painters from 1650 to 1675, when they reached the height of their technical ability and mastery at depicting domestic life.

Some 65 masterpieces by Johannes Vermeer and his contemporaries—including Gerard ter Borch, Gerrit Dou, Pieter de Hooch, Nicolas Maes, Eglon van der Neer, Caspar Netscher, and Jacob Ochtervelt—will be grouped by theme, composition, and technique, thereby demonstrating how these painters admired, challenged, and pushed each other to greater artistic achievement. The paintings also reflect how these masters responded to the changing artistic climate of the Dutch Republic in the third quarter of the 17th century, particularly in Amsterdam, Haarlem, Leiden, Deventer, Rotterdam, and Delft.

Since 1995 the Gallery’s curator of northern baroque paintings, Arthur K. Wheelock Jr., has mounted more than a dozen exhibitions on Dutch artists, including several featured in this exhibition. Among them are Johannes Vermeer (1995), Jan Steen (1996), Gerrit Dou (2000), Gerard ter Borch (2004–2005), Frans van Mieris (2006), and Gabriel Metsu (2011). As the culmination of these monographic exhibitions, Vermeer and the Masters of Genre Painting will reveal how these painters were artistically more connected than has previously been understood.

The exhibition is organized by the National Gallery of Art, Washington, the National Gallery of Ireland, Dublin, and the Musée du Louvre, Paris. The exhibition will be on view at the National Gallery of Ireland from June 17 through September 17, 2017.

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Bethesda Fine Art: In Memoriam KENNETH VICTOR YOUNG

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Kenneth Victor Young, Red Dance (1970), National Gallery of Art, 2016
It is with great sadness that we announce the passing of Kenneth Victor Young (1933-2017). Young had a far-reaching career as an artist, teacher and exhibit designer at the Smithsonian for 35 years. His early art education and teaching experience was in Louisville, Kentucky; Indiana University; and the University of Hawaii. He was an instructor at the Corcoran Gallery of Art and Duke Ellington School of the Arts in Washington, DC.
Young’s artistic philosophy was to bring order out of chaos. His studies in physics and the natural sciences at Indiana University informed a different imagery-a fusion of brilliant colors. His knowledge of form and matter gave his paintings a spatial intensity, and he infused this space with multiple orbs of color held together in molecular suspension. For more than 40 years his artworks have been shown in group and solo exhibitions in galleries and museums around the world, including a major solo show in 1973 at the Corcoran Gallery of Art in Washington.
Young is in the Smithsonian American Art Museum’s permanent collection and was included in its 2015 traveling exhibition, African American Art: Harlem Renaissance, Civil Rights Era and Beyond. Young’s painting Red Dance is installed in the National Gallery of Art’s East Building. His painting Spring Rain is featured at the MGM Grand Resort & Casino at the National Harbor in Maryland. At the time of his passing, Ken had emerged as a pivotal force in African-American abstraction.
It has been an honor to represent Kenneth Victor Young at Bethesda Fine Art. We have had the unique opportunity to bring together his major paintings from the Washington Color School period of the ’60s and ’70s. We look forward to presenting Ken’s later body of work alongside his earlier paintings.

Bethesda Fine Art
4931 Cordell Avenue, Bethesda, Maryland

For inquiries or to schedule an appointment:
gallery@bethesdafineart.com | 240.800.3628

 

 

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Impressionist Edgar Degas Explored in Conservation Journal “Facture”

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Facture: Conservation, Science, Art History, Volume 3: Degas, edited by Daphne Barbour, senior object conservator and Suzanne Quillen Lomax, senior conservator scientist at the National Gallery of Art, Washington

Facture: Conservation, Science, Art History, Volume 3: Degas, edited by Daphne Barbour, senior object conservator and Suzanne Quillen Lomax, senior conservator scientist at the National Gallery of Art, Washington

Dedicated to Edgar Degas (1834–1917) in the centennial year of his death, the newest issue of the conservation division’s biennial journal Facture focuses on the tremendous wealth of works by Degas in the National Gallery of Art’s collection. The first to feature the work of a single artist, this issue includes essays by conservators, scientists, and curators. It presents insights into Degas’s working methods in painting, sculpture in wax and bronze, and works on paper, as well as a sonnet he wrote to his “little dancer.”

The National Gallery of Art has the third largest collection in the world of work by Degas, comprising 21 paintings, 65 sculptures, 34 drawings, 40 prints, 2 copper plates, and one volume of soft-ground etchings. Its extensive Degas holdings and conservation resources have inspired not only groundbreaking Gallery exhibitions—such as Degas, the Dancers (1984), Degas at the Races (1998), Degas’s Little Dancer (2014), and Degas/Cassatt (2014)—but also exhibitions around the world. Edgar Degas Sculpture (2010), the Gallery’s systematic catalog by Suzanne Glover Lindsay, Daphne S. Barbour, and Shelley G. Sturman (and also the first in that series to focus on a single artist), documents the Gallery’s superb collection of sculpture by Degas through art and science.

Previous issues of Facture brought together recent discoveries by conservators, scientists, and curators on the Gallery’s staff. The inaugural issue centered on Renaissance masterworks in the Gallery collection, from painting and drawing to sculpture and tapestry. Another volume considered “art in context,” focusing on works from the Renaissance as well as the 20th century, from Giotto’s Madonna and Child and Riccio’s Entombment to paintings by Mark Rothko, sculptures by Auguste Rodin, and watercolors by John Marin. Through meticulous technical and analytical study, placed in a broader historic context, the essays provide new perspectives on well-known works of art.

Facture is available for purchase in the Gallery shops. To order: shop.nga.gov; (800) 697-9650 or (202) 842-6002; fax (202) 789-3047; mailorder@nga.gov. For more information: www.nga.gov/facture

Essays

Degas and Difficulty
Richard Kendall, renowned independent Degas scholar and the only outside contributor to this volume, discusses some of the issues raised by technical examination of the artist’s work and introduces the other essays in the context of Degas scholarship. Kendall explores Degas’s artistic practice of seeking out difficulty, pushing himself as a painter, sculptor, printmaker, and poet.

The Question of Finish in the Work of Edgar Degas
An essay by Ann Hoenigswald, senior conservator of paintings, and Kimberly A. Jones, curator of 19th-century paintings, combines insights into Degas’s compulsive working sessions and his inability to “finish” a work of art. They describe various surfaces—often found in the same work—used by Degas, who valued flexibility and potential over preservation and closure.

Edgar Degas’s Wax Sculptures: Characterization and Comparison with Contemporary Practice
Degas used wax modeling to explore particular poses and gestures of female figures and horses moving through space. Based on earlier research performed for the systematic catalog on Degas (2010), Suzanne Quillen Lomax, senior conservation scientist, Barbara H. Berrie, head of the scientific research department, and conservation scientist Michael Palmer, have more precisely distinguished them from posthumous repairs and interventions.

Casting Degas’s Sculpture into Bronze: A Closer Look
Daphne Barbour, senior object conservator, and Shelley Sturman, head of objects conservation, analyzed approximately 200 bronze sculptures by Degas from museum collections around the world. Building on their earlier work for the 2010 Degas systematic catalog, the authors here focus on the complex topic of the posthumously cast bronzes and summarize their discoveries in historical and technical contexts.

Technical Exploration of Edgar Degas’s Ballet Scene: A Late Pastel on Tracing Paper
Michelle Facini, paper conservator, Kathryn A. Dooley, research scientist, John K. Delaney, senior imaging scientist, together with Lomax and Palmer performed an intensive study of Degas’s late pastel Ballet Scene (c. 1907) that revealed his innovative use of tracing paper, charcoal, pastel, and fixative to create original effects.

In Focus: Edgar and Mary Cassatt: A Comparison of Drawings for Soft-Ground Etchings
Kimberly Schenck, head of paper conservation, studied work by Degas and Mary Cassatt (1845–1926) for the unrealized journal of etchings Le Jour et la nuit (Day and Night) and discusses the tools and methods each artist used. Focusing on the prints related to Degas’s Mary Cassatt at the Louvre: The Etruscan Gallery (c. 1879), Schenck traces the artist’s development of related images across media.

In Focus: The Little Dancer in Wax and Words: Reading a Sonnet by Edgar Degas
Alison Luchs, curator of early European sculpture and deputy head of sculpture and decorative arts, explores the ideas and emotions behind Degas’s sonnet, Little Dancer (1889; revised and published 1914), addressed to a young ballerina whom he hoped would ascend the heights of her art. Luchs’s analysis of verbal clues in the sonnet sheds light on changes Degas made in the course of modeling Little Dancer Aged Fourteen (1878–1881).

Edgar Degas (1834–1917)

The eldest son of a Parisian banker, Degas complemented his brief academic art training at the École des Beaux-Arts by copying old master paintings both in Italy, where he spent three years (1856–1859), and at the Louvre. Degas early on developed a rigorous drawing style and a respect for line that he would maintain throughout his career. His first independent works were portraits and history paintings, but in the early 1860s he began to paint scenes from modern life. He started with the world of horse racing and by the end of the 1860s had also turned his attention to the theater and ballet.

In 1873 Degas banded together with other artists interested in organizing independent exhibitions without juries. He became a founding member of the group that soon would be known as the impressionists, participating in six impressionist exhibitions between 1874 and 1886.

Despite his long and fruitful association with the impressionists, Degas considered himself a realist. His focus on urban subjects, artificial light, and careful drawing distinguished him from other impressionists, who worked outdoors, painting directly from their subjects. A steely observer of everyday scenes, Degas tirelessly analyzed positions, gestures, and movement.

Degas developed distinctive compositional techniques, viewing scenes from unexpected angles and framing them unconventionally. He experimented with a variety of media, including pastels, photography, and monotypes, and he used novel combinations of materials in his works on paper and canvas and in his sculptures.

Degas was often criticized for depicting unattractive models from Paris’ working class, but a few writers, like realist novelist Edmond de Goncourt, championed Degas as “the one who has been able to capture the soul of modern life.” By the late 1880s, Degas was recognized as a major figure in the Paris art world. Financially secure, he could be selective about exhibiting and selling his work. He also bought ancient and modern works for his own collection, including paintings by El Greco, Édouard Manet, and Paul Gauguin. Depressed by the limitations of his failing eyesight, he created nothing after 1912; when he died in 1917, he was hailed as a French national treasure. After his death, deteriorating sculptures whose existence had been unknown to all but his closest associates were found in his studio: 74 of them were cast in bronze over the next decades, and of the 70 that survived the process 52 came to the National Gallery of Art as gifts of Mr. and Mrs. Paul Mellon, including Little Dancer Aged Fourteen.

 

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New Acquisitions: Bethesda Fine Art

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Sam Gilliam, Kenneth Young, Jacob Kainen, Howard Mehring, Paul Reed

SAM GILLIAM
For the Fog series, 1996
mixed media, app. 45″ x 29″
KENNETH YOUNG
Dance, c. 1970
acrylic on canvas, 40″ x 41″

JACOB KAINEN

Loomings II, 1991
acrylic on canvas, 50″ x 60″

HOWARD MEHRING

Untitled, 1967
acrylic on canvas, 57″ x 48″

HOWARD MEHRING

Double, 1977-1978
acrylic on canvas, 68″ x 66″

PAUL REED

#5 A, 1965
acrylic on canvas, 57½” x 44″
VIEW THESE AND OTHER WORKS AT
ALSO VISIT US ON
artnet.com
artsy.net
OPEN BY APPOINTMENT
Bethesda Fine Art
4931 Cordell Avenue, Bethesda, Maryland
240.800.3628

 

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Seven Centuries from the Woodner Collections Celebrated at National Gallery of Art

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The Woodner Collections: Master Drawings from Seven Centuries brings together for the first time the best of Ian Woodner’s collection with some of the works given and promised by his daughters, Dian and Andrea Woodner.

More than 100 drawings dating from the 14th to the 20th century executed by outstanding draftsmen such as Leonardo da Vinci, Albrecht Dürer, Raphael, Jean-Auguste-Dominique Ingres, Edgar Degas, and Pablo Picasso will be on view in the West Building of the National Gallery of Art through July 16, 2017.

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TOUCHSTONE ART GALLERY ONLINE STORE

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http://www.touchstonegallery.com/shop/?category=For+%24175+or+less

Small Art Sensations at $175 or Less

GALLERY HOURS:

Wednesday – Friday 11 – 6, Saturday – Sunday 12 – 5

 

Touchstone Gallery

901 New York Avenue, NW
(1 block north of City CenterDC)
Washington DC 20001
202-347-2787

info@touchstonegallery.com

www.touchstonegallery.com

 

 

 

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National Gallery 2017-8

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The National Gallery of Art, Washington announces a diverse lineup of exhibitions for 2017 and 2018 ranging from a new body of work by Theaster Gates to the first major American exhibition of Frédéric Bazille in almost 25 years.

Della Robbia: Sculpting with Color in Renaissance Florence (February 5 –June 4, 2017) will present 40 glazed terracotta works by the Florentine family and fellow renaissance sculptors in the first major exhibition in the US dedicated to Della Robbia sculptures.

For In the Tower: Theaster Gates (March 5 –September 4, 2017)—the second exhibition in the reopened East Building Tower 3 galleries—contemporary American artist Theaster Gates will present a new body of work featuring several pieces created for the Gallery.

With 175 works, East of the Mississippi: Nineteenth-Century American Landscape Photography (March 12 –July 16, 2017) will be the first exhibition to focus exclusively on early photography of the eastern half of the United States.

The Gallery, which houses the largest collection of works by Frédéric Bazille outside of France, will present the first major American exhibition in 25 years of the relatively unknown contemporary of Monet and Renoir. Frédéric Bazille and the Birth of Impressionism (April 9 –July 9, 2017) will bring light to the artist’s role in the movement.

America Collects Eighteenth-Century French Painting (May 21 –August 20, 2017) will bring together 70 18th-century French paintings from a range of public collections across the country in an exhibition that explores how Americans developed a taste for the French rococo and neoclassical styles.

Finally, Gordon Parks: The New Tide, 1940-1950 (November 11, 2018 –February 18, 2019) will focus on the most formative decade of legendary photographer Gordon Parks’ career. 120 photographs and ephemera will showcase his iconic photographs from his time at the Farm Security Administration and Office of War Information.

 

 

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Hillyer Art Space Call for Proposals

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NGA: Mark Rothko: The Works on Paper, online resource

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The National Gallery of Art maintains the largest public collection of art by the American artist Mark Rothko (1903–1970). Following the publication in 1998 of its landmark catalogue raisonné of Rothko’s works on canvas, the Gallery embarked on research into Rothko’s works on paper. The culmination of this effort will be an online resource compiling the drawings, watercolors, and paintings on paper. Expected to be launched to the public in phases between 2016 and 2018, the online resource will be followed in 2020 by a two-volume catalogue raisonné print publication.

Mark Rothko: The Works on Paper will document and illustrate some 2,600 works by Rothko located in public and private collections worldwide. Demonstrating the range of the artist’s creative achievements, the online and print publications will be the definitive scholarly references for Rothko’s works on paper, an oeuvre largely unknown to art specialists and the public alike. The Gallery continues to seek information about drawings, watercolors, and paintings on paper to be considered for inclusion in the catalogue raisonné.

Anyone with information regarding works on paper by Rothko should contact Laili Nasr by e-mail at l-nasr@nga.gov or by phone at (202) 842-6779.

For more information

visit: http://www.nga.gov/content/ngaweb/press/2016/rothko.html

 

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National Gallery of Art Library

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Artists’ materials ranging from art instruction manuals to trade catalogs enable scholars and conservators to better understand the physical attributes of the artworks they study and preserve. In the Library: The Intersection of Commerce and Instruction in Art presents approximately 50 examples of trade literature, from handwritten and early printed manuals containing formulas for various dyes, varnishes, and inks to illustrated trade catalogs and instruction manuals on techniques. Organized by the National Gallery of Art Library, this exhibition is on view from February 22 June 3, 2016, in the East Building, Ground Floor, Study Center.

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