You Should Wear To Monochromatic Artists
Both artists’ pictures are mostly, but not entirely, monochromatic. Smith’s are white-on-black assets of simple shapes on decrepit linen whose undercoats occasionally acknowledge brighter colors. Brugnoli’s are fatigued and corrective aloft black-and-white awning prints on Mylar, and all are in shades of gray and black, save for one streaked with gold pigment.
The axial images in Brugnoli’s works arise to be acquired from photographs and are appropriately added detailed, alike aback partially abysmal beneath sumi ink, white charcoal or added materials. The motifs accommodate ability lines, timberline groves and alternation tracks, all angular but carrying a faculty of motion or connection. Smith offers flatly absent renditions of what attending to be such commonplace altar as cups and boxes, although her account likens anniversary anatomy to an “internalized landscape.” Smith pulls abutting to Brugnoli’s area with “Track,” a apprehension of a few asperous curve that alongside or overlap.
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Where Smith’s pieces resulted from ancestors trips to Syracuse and back, Brugnoli’s accept a added black impetus: the 2021 afterlife of her father. Of the artworks’ alternating shapes, the artist’s account explains, “I echo to remember. I abort to reimagine. I coffin to unearth.” The cables, advance and trunks in Brugnoli’s pictures symbolically articulation accomplished and present, balmy anamnesis and algid reality.
Nikki Brugnoli and Anne C. Smith: Forces Fleeting Through April 17 at the Athenaeum, 201 Prince St., Alexandria.
Baby Scale Site Specific Carve Appearance (SSSSSS)
Most arcade proprietors action artists a white allowance in which to affectation their work. Artist-entrepreneurs Nancy Daly] and Rex Delafkaran went added at the new area of their pop-up, But, Also. They outfitted the amplitude with white secondhand appliance and added fixtures, including a fractional battery enclosure. Then they arrive nine artists to add their own touches to complete the “Small Scale Site Specific Carve Appearance (SSSSSS).”
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Some of the artworks are conspicuous. Brian Michael Dunn blowzy the table with screen-printed facsimiles of dollar bills, their images too base to alert accuse of counterfeiting. Kevin Kao covered the walls about the battery with mini-shelves whose annular shapes advance the anatomy but whose cogitating surfaces serve as mirrors. J. Alex Schechter abeyant from one bank a broken-down arrangement of terrariums whose apparatus accommodate bogus plants, metal vises and blush LEDs.
Other pieces are at atomic somewhat hidden. Hannah Spector placed an carving and a video-playing cyberbanking book central a drawer. Yan Jin tore six pages from a Jorge Luis Borges book and blimp them central balloons, which adhere beneath the nailed-down tome. Emily Francisco outfitted a anesthetic chiffonier with baby metal boxes abounding with healing beastly sounds. In this appropriate home appurtenances store, some of the best adorable commodity is ephemeral.
Small Scale Site Specific Carve Appearance (SSSSSS) Through April 9 at But, Also, 1418 N. Capitol St. NW.
Taplin & Sakai
In their affecting 1972 book about postmodern architecture, “Learning From Las Vegas,” Robert Venturi, Denise Scott Brown and Steven Izenour analyze amid two architectonics types: “ducks,” which accept characteristic shapes, and “decorated sheds.” D.C. columnist Philip Taplinis a avoid hunter. The pictures in “AmerIcons,” his Photoworks show, approach structures such as Lucy, the six-story wood-and-tin albatross in Margate, N.J. Additionally pictured are El Gran Toro, a cow-shaped carryout with aglow red eyes and, yes, a architectonics — the Big Avoid — in the anatomy of a big white duck.
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Yet some of the barrio Taplin photographs are aloof elaborately busy sheds. The access to Orlando’s Gatorland is a set of awe-inspiring blooming jaws, but they advance into an accustomed ellipsoidal structure. That the pictures of such places don’t attending accustomed owes abundant to Taplin’s accurate timing. The columnist generally shoots at twilight, aback blush and amethyst skies add a absurd aspect to the compositions. “AmerIcons” abstracts a vanishing era in American artery architecture, but its images arise to abide eerily out of time.
The pictures in Jennifer Sakai’s “Hillover Road,” additionally at Photoworks, are a altered array of vacation snapshots. Aggressive by a Long Island abode that has served four ancestors of a family, the activity includes brilliant photos of the beach, the sky and baby bartering structures. Some of the images are autogenous close-ups, emphasizing the affecting comedy of ablaze on domiciliary objects. Two alternation attempt amid 2008 and 2021 — one of the bluff of a bounded cabin and the added of driftwood pylons erected briefly in the beach — mark casual time. That things change aloof underscores “Hillover Road’s” faculty of continuity.
Philip Taplin: AmerIcons and Jennifer Sakai: Hillover Road Through April 10 at Photoworks, Glen Echo Park, 7300 MacArthur Blvd., Glen Echo.
Dave Eassa
Wooden walkways bisect miniature beach dunes aggregate on the attic of Cody Gallery, beneath a flower-festooned entrance and a carve of a approach tree. The credible ambition of Dave Eassa’s “People and Places You Don’t Know How to Know” is to booty visitors on some affectionate of journey.
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The aisle meanders into the Baltimore artist’s ancestors history. Descended from immigrants from Syria, Palestinian territories and Lebanon, Eassa has reimagined his past, aggressive in allotment by a five-week address in Jordan in 2021. He led art workshops for adolescent skateboarders while acquainting himself with bounded culture.
The appearance centers on four ample paintings that characterize Eassa’s grandparents and added relatives. Anniversary has a bandage of flowers — jasmine, poppies, tulips and red roses — beyond the basal to represent the Arab world. The pictures amalgamate coarse outlines and adventurous colors to advance a mix of acceptable crafts with American graffiti and Pop art. As anecdotal here, Eassa’s activity adventure includes added than a bit of burghal Baltimore.
Dave Eassa: People and Places You Don’t Know How to Know Through April 14 at Cody Gallery, Marymount University Ballston Center, 1000 N. Glebe Rd., Arlington.
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