{"id":938,"date":"2023-12-08T11:00:20","date_gmt":"2023-12-08T11:00:20","guid":{"rendered":"https:\/\/ventil.rs\/blog\/entertainment\/review-in-the-galleries-a-trio-of-exhibitions-with-intersecting-themes\/"},"modified":"2023-12-08T11:00:20","modified_gmt":"2023-12-08T11:00:20","slug":"review-in-the-galleries-a-trio-of-exhibitions-with-intersecting-themes","status":"publish","type":"post","link":"https:\/\/ventil.rs\/blog\/entertainment\/review-in-the-galleries-a-trio-of-exhibitions-with-intersecting-themes\/","title":{"rendered":"Review | In the galleries: A trio of exhibitions with intersecting themes"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<div class=\"wpds-c-jUMcim wpds-c-jUMcim-iPJLV-css hide-for-print mb-sm\">\n<div class=\"PJLV PJLV-ieDMgMI-css flex items-center\" config=\"[object Object]\" data-qa=\"article-actions\">\n<div class=\"wpds-c-mfMEg\">\n<div class=\"wpds-c-kSOqLF wpds-c-hnjNCH wpds-c-kSOqLF-bywHgD-variant-primary wpds-c-kSOqLF-biynoz-density-compact wpds-c-kSOqLF-hZSyid-isOutline-true wpds-c-kSOqLF-ejCoEP-icon-left wpds-c-kSOqLF-futxca-cv wpds-c-hnjNCH-eNNUQD-cv wpds-c-hnjNCH-jGqLyO-cv\"><button aria-label=\"Comment\" class=\"wpds-c-gPbxFP\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewbox=\"0 0 16 16\" fill=\"var(--wpds-colors-primary)\" aria-hidden=\"true\" focusable=\"false\" role=\"img\" class=\"wpds-c-kKAfCG wpds-c-efqEZa flex items-center justify-center brad-lg pointer transition-400 ease-in-out transition-colors\" aria-label=\"Comment on this story\"><title>Comment on this story<\/title><path d=\"M14 14V2H2v9.47h8.18L12.43 13ZM3 10.52V3h10v9.23l-2.5-1.66Z\"\/><\/svg><\/button><span aria-hidden=\"true\" class=\"wpds-c-fBEbFG\">Comment<\/span><\/div>\n<\/div>\n<div class=\"wpds-c-mfMEg\">\n<div class=\"wpds-c-kSOqLF wpds-c-hnjNCH wpds-c-kSOqLF-bywHgD-variant-primary wpds-c-kSOqLF-biynoz-density-compact wpds-c-kSOqLF-hZSyid-isOutline-true wpds-c-kSOqLF-ejCoEP-icon-left wpds-c-kSOqLF-futxca-cv wpds-c-hnjNCH-eNNUQD-cv wpds-c-hnjNCH-jGqLyO-cv\">\n<div class=\"PJLV PJLV-iPJLV-css\"><button type=\"button\" aria-haspopup=\"dialog\" aria-expanded=\"false\" aria-controls=\"\" data-state=\"closed\" data-testid=\"subscribe-cta-popup\" aria-label=\"Save\" aria-pressed=\"false\" class=\"wpds-c-kSOqLF wpds-c-kSOqLF-SQjOY-variant-secondary wpds-c-kSOqLF-eHdizY-density-default wpds-c-kSOqLF-ejCoEP-icon-left wpds-c-kSOqLF-icMJmxV-css\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewbox=\"0 0 16 16\" fill=\"currentColor\" aria-hidden=\"true\" focusable=\"false\" role=\"img\" class=\"wpds-c-dJBvpf wpds-c-dJBvpf-idnLyH-css \" data-bookmark-status=\"notsaved\"><path d=\"M12 3v8.92l-3.38-2.7-.62-.5-.62.5L4 11.92V3h8m1-1H3v12l5-4 5 4V2Z\"\/><\/svg><span class=\"wpds-c-iSKIAI\">Add to your saved stories<\/span><\/button><\/div>\n<p><span aria-hidden=\"true\" class=\"wpds-c-fBEbFG\">Save<\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"teaser-content grid-center\">\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">Mutability is both essential to human life and a threat to it. This paradox animates three exhibitions, presented separately but overlapping thematically, at the Museum of Contemporary Art Arlington. The contributors represent natural forms in materials that may appear organic or industrial and in ways that can be humorous or alarming.<\/p>\n<\/div>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p><span class=\"wpds-c-sFUaP wpds-c-sFUaP-jtHNGr-variant-interstitial wpds-c-sFUaP-iPJLV-css hide-for-print\"><a data-qa=\"interstitial-link\" data-testid=\"interstitial-link\" href=\"https:\/\/www.washingtonpost.com\/newsletters\/style-memo\/?method=SURL&amp;location=ART&amp;itid=lk_interstitial_manual_4\">Sharp. Witty. Thoughtful. Sign up for the Style Memo newsletter.<\/a><\/span><\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">The largest show is \u201cAn Adventure of Being,\u201d whose title derives from Jean-Paul Sartre\u2019s \u201cBeing and Nothingness,\u201d according to curator Blair Murphy. It assembles the work of three artists based at least part time in New York City and one, Stephanie J. Williams, who lives in D.C. and Baltimore.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">Williams offers one of the most playful pieces, a thicket of wooden stalks that culminate in tapered twists. Their sinuous shapes could represent many things, but each is painted white with two horizontal colored bands near where the natural wood tone yields to pigment. The effect is instantaneous recognition: gym socks! The forms don\u2019t resemble human legs and feet, but the stripes render them somehow familiar.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">A similar mix of outlandish and everyday characterizes the work of Jeremy Olson, the show\u2019s only painter. His surrealistic pictures meld sci-fi settings with mid-20th-century modern architecture and populate these almost-believable locations with humanoids that might be background players from a \u201cStar Wars\u201d crowd scene.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">Nicki Cherry conjures fleshy forms in such materials as stoneware, plaster and gypsum cement. A green frond protrudes from a circular wall piece, suggesting germination and growth. But nearby, a pink, vaguely human entity slumps on the floor, its posture redolent of collapse and death.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">Hairpin-shaped neon tubes glow at the center of Vincent Cy Chen\u2019s mixed-media sculptures, illuminating abstract assemblages that invoke tropical blooms but also bodily orifices. Complex and colorful, the Taiwan-born artist\u2019s elegantly crafted pieces are strange but reassuringly symmetrical. Chen is concerned with humanity\u2019s reluctance to acknowledge its place in nature, yet his own symbolic microcosms achieve an exquisite sense of balance.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">In separate shows, Elliot Doughtie and Marissa Long conflate the human form with, respectively, industrial metal and a crystalline grotto. Doughtie\u2019s \u201cTomato\u201d is an assemblage of tools and machine parts, some shaped and others unaltered. Affixed to many of the metallic pieces are sprigs of epoxy whose rumpled shapes recall hair tufts or plant sprouts. These growths refer to the bodies of transgender people like the Baltimore artist, but they can also be seen as representing the growth of fruits (which a tomato technically is) and other organisms.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">Visual representation of the human body is partial but more direct in Long\u2019s \u201cBlister Pearl,\u201d a sculptural installation masked by diaphanous pink curtains that themselves evoke skin. At the gallery\u2019s center is a trough studded with quartz crystals and flanked by stalagmites and the fragmentary forms of feet, hands and faces. Nearby, the MOCA Arlington resident artist placed simulated slugs, butterflies, slices of melon and flowers that grow from corporeal red sacs that appear to be moist and oozing.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">Is the fragmentary body emerging from the grotto or receding into it? That doesn&#8217;t really matter. The essence, as in all three of these shows, is change. Things become other things, and the process is both morbid and beautiful.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><i><b>Elliot Doughtie: Tomato<\/b><\/i><i> and <\/i><i><b>Marissa Long: Blister Pearl<\/b><\/i><i> through Dec. 17 and <\/i><i><b>An Adventure of Being<\/b><\/i><i> through Feb. 11 at the Museum of Contemporary Art Arlington, 3550 Wilson Blvd., Arlington. <\/i><a href=\"http:\/\/mocaarlington.org\/\" target=\"_blank\" rel=\"noopener\">mocaarlington.org<\/a>. 703-248-6800.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">The wild animals of South Africa are widely depicted, but rarely with Hannelie Coetzee\u2019s expressionist flair. The Johannesburg artist\u2019s fluid drawings appear at first to be little more than inkblots, but closer inspection reveals imagery that is remarkably well defined. The animals portrayed in Coetzee\u2019s Morton Fine Arts show, \u201cIn Mid-Loping Gait,\u201d are loosely rendered yet recognizable and expressive.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">Coetzee calls her subjects \u201ceco-queer creatures,\u201d and her statement says their behavior \u201cdisproves the \u2018naturalness\u2019 of human heterosexuality.\u201d (Some of the activity depicted in these drawings might be described as affectionate, but it is far from explicitly sexual.)<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">A multidisciplinary artist who often produces artworks for public spaces, Coetzee turned to drawing during the pandemic. She began traveling to Kruger National Park and other locations to portray hyenas, ostriches, zebras and other animals. She sometimes allowed wind to direct the wet black ink, or shifted the paper so that the pigment flowed in uncontrolled directions. Rather than disrupt the likenesses, these gambits give a sense of natural motion to kinetic groupings such as a band of galloping baboons. The black forms are incised with subtle white lines, occasionally highlighted by touches of color.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">One aspect of the artist\u2019s environmental consciousness is that she often uses reclaimed material. Much of the paper for these drawings was salvaged, and it includes pages from mining company ledger books. The irony is surely intentional: Coetzee\u2019s sketches of nature symbolically undo the legacy of an industry that despoiled South Africa\u2019s landscape.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><i><b>Hannelie Coetzee: In Mid-Loping Gait<\/b><\/i><i> Through Dec. 19 at Morton Fine Art, 52 O St. NW, No. 302. <\/i><a href=\"http:\/\/mortonfineart.com\/\" target=\"_blank\" rel=\"noopener\"><i>mortonfineart.com<\/i><\/a><i>. 202-628-2787. Open by appointment.<\/i><\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">The styles of the two artists featured in Cody Gallery\u2019s \u201cIntersections\u201d don\u2019t exactly intersect, but they do sympathize. David Carlson makes abstract pictures whose sinuous gestures are partly overpainted with white. Chee Keong Kung constructs wooden wall sculptures whose parts are mostly covered in white pigment or gesso. The bent metal rods that protrude from Kung\u2019s pieces harmonize with Carlson\u2019s painted black curves.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">Carlson teaches at Marymount University in Arlington and curates shows at the nearby Fred Schnider Gallery. A Singapore native who trained as an architect, Kung is also based in Northern Virginia. He\u2019s probably best known for futurist-like paintings in which straightedge forms seem to hurtle explosively at the viewer. There are linear segments in some of Carlson\u2019s pictures, but they\u2019re subsidiary to the spontaneous brushstrokes and the whitewashing that partly obscures both straight and swooping lines.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">The centerpiece of \u201cIntersections\u201d is a Kung sculpture that fills the gallery\u2019s back wall and is made of thin steel shafts that outline simple geometric shapes in space. Mounted slightly away from the wall, the piece complicates its simple forms by casting complex shadows. As in Carlson\u2019s paintings, the area between the bottom and top surfaces is slight but intriguingly crowded.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><i><b>David Carlson and Chee Keong Kung: Intersection<\/b><\/i><i> Through Dec. 15 at Cody Gallery, Marymount University Ballston Center, 1000 N. Glebe Rd., Arlington. <\/i><a href=\"http:\/\/marymount.edu\/\" target=\"_blank\" rel=\"noopener\"><i>marymount.edu<\/i><\/a><i>. 703-522-5600.<\/i><\/p>\n<\/div>\n<div class=\"wpds-c-jkoBlc wpds-c-jkoBlc-leHWbT-removeAllStyles-true\">\n<div class=\"wpds-c-gMxubY\">\n<div class=\"wpds-c-jKpMgH hide-for-print\" data-testid=\"collections-main\">\n<div class=\"wpds-c-eZQlgr\">\n<div class=\"PJLV\"><label class=\"wpds-c-bMdHQm wpds-c-bMdHQm-jPiQqD-size-md wpds-c-bMdHQm-iKthye-css\"><\/p>\n<p>More Style stories on art<\/p>\n<p><\/label><\/div>\n<\/div>\n<p><button class=\"wpds-c-kSOqLF wpds-c-kSOqLF-SQjOY-variant-secondary wpds-c-kSOqLF-eHdizY-density-default wpds-c-kSOqLF-hGNJMA-icon-center wpds-c-kSOqLF-qcJLL-cv wpds-c-kSOqLF-ieqAhsM-css\">View 3 more stories<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewbox=\"0 0 16 16\" fill=\"currentColor\" aria-hidden=\"true\" focusable=\"false\" role=\"img\" class=\"wpds-c-dJBvpf wpds-c-gmtmov\"><path d=\"m3.38 6 .71-.71L8 9.25l3.91-3.92.71.71L8 10.67Z\"\/><\/svg><\/button><\/div>\n<\/div>\n<section class=\"PJLV PJLV-icCmARE-css dn-ns hide-for-print\" data-testid=\"mostRead\" subscriptions-section=\"content\"\/><\/div>\n<\/div>\n<p><br \/>\n<br \/><a href=\"https:\/\/www.washingtonpost.com\/entertainment\/art\/2023\/12\/08\/art-gallery-shows-dc-area\/\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Comment on this storyComment Add to your saved stories Save Mutability is both essential to human life and a threat to it. This paradox animates three exhibitions, presented separately but overlapping thematically, at the Museum of Contemporary Art Arlington. The contributors represent natural forms in materials that may appear organic or industrial and in ways&#8230;<\/p>\n<p class=\"more-link-wrap\"><a href=\"https:\/\/ventil.rs\/blog\/entertainment\/review-in-the-galleries-a-trio-of-exhibitions-with-intersecting-themes\/\" class=\"more-link\">Read More<span class=\"screen-reader-text\"> &ldquo;Review | In the galleries: A trio of exhibitions with intersecting themes&rdquo;<\/span> &raquo;<\/a><\/p>\n","protected":false},"author":1,"featured_media":939,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/www.washingtonpost.com\/wp-apps\/imrs.php?src=https:\/\/arc-anglerfish-washpost-prod-washpost.s3.amazonaws.com\/public\/DOB7XO2WNNDZHJCPBXV3JSXEK4_size-normalized.jpg&w=1440","fifu_image_alt":"","footnotes":""},"categories":[5],"tags":[],"class_list":["post-938","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v17.8 (Yoast SEO v22.1) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Review | In the galleries: A trio of exhibitions with intersecting themes - Breaking News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ventil.rs\/blog\/entertainment\/review-in-the-galleries-a-trio-of-exhibitions-with-intersecting-themes\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Review | In the galleries: A trio of exhibitions with intersecting themes\" \/>\n<meta property=\"og:description\" content=\"Comment on this storyComment Add to your saved stories Save Mutability is both essential to human life and a threat to it. This paradox animates three exhibitions, presented separately but overlapping thematically, at the Museum of Contemporary Art Arlington. 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This paradox animates three exhibitions, presented separately but overlapping thematically, at the Museum of Contemporary Art Arlington. 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