Where to see art gallery shows in the Washington region

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The artists have adopted the formats and motifs familiar to them in the abstraction of modernism, but give them meanings related to their personal heritage. Thus, both New Yorkers Tarik Elyounous and Paolo Arao create large color field works in their respective backgrounds. Siferau lined up bars in brown shades to represent the skin tones of his hometown of Ethiopia, and Arao created a hanging banner modeled after the colorful sails of his native Philippine fishing vessel. To do.

Other contributors were born in the United States, but are less accustomed to cultural heritage. Local artist Julia Kwon combines the design of Josef Albers’ “Homage to the Square” series with the design of Bojagi, a Korean fabric traditionally used for gift wrapping. increase. Asa Jackson’s “Urban Planning” in Virginia combines fabric trimmings from other artists to create a sort of demographic patchwork. LA’s Esteban Ramont Perez, who worked at her father’s upholstery, offers a huge leather collage incorporating boxing gloves.

The work, which is reminiscent of a boxing ring and a slaughterhouse, is not the only one that evokes violence. One of Siferau’s sculptures is boarded and spray-painted like a burnt-out storefront. Kwon cuts some of her canvas and wraps it in the shape of a human scale to suggest the objectification of Asian women. Artists “despite modernism” criticize the legacy of white male pioneers, at least in part, because their rare style was so isolated from the struggle of women and people of color. doing.

Despite modernism: contemporary art, abstract heritage, identity Until March 26 Arlington Arts Center3550 Wilson Blvd., Arlington.

Like many of us, Madeline A. Stratton has spent much of the last two years relatively isolated. While she was inside, she started thinking about the interior, but it wasn’t a traditional decorative term. Instead, she was encouraged to build, assemble, and tweak domestic and artistic materials into a sort of playhouse, which is now on display at the Hamilton Gallery as “We Were Here.” The identity of that “us” has not been identified, but Stratton’s show looks like a good environment for cartoon characters.

Brilliant colors, quirky shapes, and totally impractical Stratton’s work include a set of green and orange shutters, walls filled with abstract “reliquaries”, and decorative shapes on the walls and floor. Includes blocked corners. Among the materials are glitter, rhinestones, gauze fabrics, furniture found, and reflective surfaces. “Useless on a submarine” is a screen door decorated with a simple picture sewn with thread.

Some of the interests expressed by the artist are memories, and the abundance of pink in this array suggests a recollection of space and color schemes from Girls’ Generation. However, most of “We Were Here” is too fancy to register as a trace of reality. Stratton reminds us of something never before, rather than reminding us of where it once was.

Tim Hyde’s “Night Walk” photos were taken outdoors, but they often look into something. It could be a shaded walkway, a partially open door, or a window that is dim but reveals the brightest lamp in the frame. This multiple exposure forces the visitor to stare into the darkness, much like a DC photographer.

Hyde is inspired by the British novelist Matthew Beaumont’s “Night Walk: London’s Night History,” which describes a prominent writer’s wandering after the darkness. According to Hyde’s statement, he started a night walk with his grandfather long ago, and trekking now emphasizes his vulnerability. “It is undeniable that testing my main fear is an important part of night walking,” he writes.

As such, some of Hyde’s photographs contain muddy figures that are unknown and therefore potentially threatening. One is a depiction of a police tape, which is barely in focus, but is visible enough to dynamically divide the space. However, in many cases, dark black photos focus on the light source of the light. Red in one case, but usually warm yellow. Hyde’s walk may be unusual, but like all photographers, he seeks a special light.

Of the myriad shades of black experience, 11: Eleven Gallery’s “Pantone Black” presents half a dozen. The show features works by six East Coast artists, some of whom are pseudonyms, whose concerns are broadly political as well as personal.

The American flag is a repetitive motif of Xplore freedom, collage one banner from a piece of vintage Black Panther newspaper, look into two eyes from the upper left quadrant, and render the other banner almost completely black. Did. Mark Clark inserts a black person into the posters of movies such as “Citizen Kane” and “A Clockwork Orange” produced by Hollywood studios, which were virtually all white. Also inspired by pop art is Marley McFly’s print painting, where a part of a woman’s face is bordered with a hot pink pattern.

As glimpsed by MRI, the contours of her own hips are at the center of Mekia Machine’s colorful, near-abstract paintings. Qrcky’s paintings based on photographs transform the scene where mother and child are intertwined by layering zebra-like stripes. The family connection in Charles Jean-Pierre’s collage is that they are made from the paintings of his late father, cut into a single figure in silhouette and assembled. Like most of these artists, Jean-Pierre chops individual identities into both individuals and groups.

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