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"Time Zones, Suicide Bombs, Patience": A Bold Collaboration Between MICA and Afghanistan

baltimore-fishbowl
Published Thursday, March 21st, 2013 in the Baltimore Fishbowl online at www.baltimorefishbowl.com

By: B. Boyd


Barati Magic-Smile Documentary-photos-2
Jalil Barati: "His documentary photographs offer images of Afghan people and places that encourage substance over mere recognition," according to VisArts exhibit release.

Across nine and a half time zones, artists from MICA have collaborated with student artists from the Center for Contemporary Arts Afghanistan (CCAA, Kabul, Afghanistan) to create an exciting and ambitious exhibit that responds to the virtual, long-distance communicative process at hand. That makes it sound almost straightforward or easy; the process hasn’t been simple. In fact, some assigned creative partnerships have even disintegrated.

Largest obstacles, according to project curator Susan Main, a professor at MICA: “Time zones, bandwidth, personal lives, security, suicide bombs, sickness, holidays, patience, the unknown, art cultural context, cultural context, language.”

The word daunting comes to mind.

“For example: Kata Frederick rarely heard from [her partner] Ali [Akhlaqi] after an initial flurry of activity,” Main explains. “Then, as the exhibition was being installed, he sent me jpegs of really terrific photographs and an extremely articulate art statement, email, etc. Turns out that he has lots of trouble with English. He relied on having his brother Tariq by his side when he was trying to write an email or Skype with Kata or me. We never knew — until the very end — that that was the reason for his reluctance to communicate. Now that he has revealed that, the conversation has started on a new level.”

Kata-Frederick Ali-Akhlaqi Screen-shot-2013-01-31-at-10.51.04-AM

Above, “Kata Frederick (MICA grad) and Ali Akhlaqi, screenshot 2013-01-31 at 10:51:09 a.m., ‘Baltimore Hears Kabul/Kabul Hears Baltimore’; Frederick and Akhlaqi created videos of their daily environments. The videos mesh together visually and aurally in unexpected ways using a computer program. Akhlaqi’s video triggers a response from Frederick’s and vice versa; one action in one part of the world creates an action in another part of the world.”


Professor Rahraw Omarzad of CCAA worked with Main to match students and provide them with grant money. The show is currently on display in the Kaplan Gallery at VisArts through Sunday, March 31.

“I am really happy with the results,” says Main. “This was a very hard way to make art. The gesture toward another art maker in a faraway place was really most important. The work took many forms collaboratively but still retained enough of the individual maker’s presence that I feel almost as if the work stands in for the missing artists. That really surprised me and touched me. Suddenly I could feel the individual presence of each of the artists whose work is in the exhibition. We went through so many stages of connection and disconnection. The exhibit — the artwork – is evidence that conversations did occur and that the experience affected all of the artists.”

Participating artists include: Alex D’Agostino, Ali Akhlaqi, Luis Arboleda, Jalil Barati, DeAndre Britton, Renato Flores, Kata Frederick, Angela Hong, Nabi Hussaini, Mariam Nabil Kamal, Mumtaz Khan Chopan, May Kim, Sara Nabil, Setareh Salehi Arashloo, Bailey Sheehan, Arzoo Waseeq, and Mohammad Mahdi Hassanzada.

Main anticipates perhaps the most daunting (but potentially exhilarating) aspect of the artistic program.

“Now to complete the exchange the exhibition will travel to Kabul,” Main says. “This will not be easy. Secure spaces for exhibition are almost non-existent. They come with huge rental fees. The fact that this project was funded in part by the CEC ArtsLink and MICA helped us begin, but we hope for support to make this a true exchange. For this sort of exhibition to occur in Afghanistan would be a first between young American and Afghan artists.”

VisArts is located in Rockville Town Square, three blocks from the Rockville Metro at 155 Gibbs Street, Rockville, MD. Beginning in 2013, the three gallery spaces at VisArts will be open on Wednesday from 12–4 p.m., Thursday and Friday from 12–8 p.m., and Saturday and Sunday from 12–4 p.m. For additional information, please visit online or call (301) 315-8200.

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In Maisterra's 'Passing Through the Body,' aged is the centerfold

washington-post
Published Friday, March 22nd, 2013 in The Washington Post print edition and online at www.washingtonpost.com

By: Mark Jenkins, Freelance Writer

B.G. Muhn; various artists

Things are splintering in “Beyond the Last Desert,” the magnum opus of “Accidental Reality,” B.G. Muhn’s show at Visarts at Rockville’s Gibbs Street Gallery. The 19-foot-wide painting includes such venerable symbols of death and decay as a skeleton and, of course, a desert. But there’s also something contemporary about the portrayal of dissolution: The picture itself is breaking down into pixels, the “picture elements” that constitute all digital imagery.

Muhn, who teaches art at Georgetown University, is not the first painter to assert visually that he’s making pictures of mechanical reproductions; the photorealists started doing that in the 1960s. And painting pixels is not the artist’s only method for fragmenting images. The show also includes “Point Reality,” which cloaks emblematic Buddhist figures behind a curtain of white daubs so that they’re almost invisible up close but perceptible from a distance.

Still, the simulation of pixels is the knottiest aspect of this show. There are multiple, McLuhanesque ironies to the technique: Muhn is painstakingly simulating by hand the dots that digital gadgets produce automatically, and these are not “real” pixels, because they’re rendered by a paintbrush, not an electronic device. But the medium is the message, even if it’s not the medium. In an age of innovative but untrustworthy systems of transmitting pictures, the fragility of life is mirrored by the capriciousness of technology.

There’s also much computer-related art in “Crossing the Distance,” upstairs at Visarts’s Kaplan gallery, and that’s not just because the group show’s participants are college-age art students. It also reflects the easiest way to communicate between the Maryland Institute College of Art, in Baltimore, and the Center for Contemporary Arts Afghanistan, in Kabul.

If the Internet were a logical way to exchange ideas between the two schools, using it wasn’t always easy. Luis Arboleda’s dinner-table installation, with one chair marked by “caution” tape, reflects the frustration of limited contact with his Afghan collaborator. Other Marylanders were inspired by the media images — DeAndre Britton did a large painting of the Time magazine cover photo of a young woman whose face was mutilated by the Taliban — or by imagining life in that very different land: Bailey Sheehan’s “Real Men Wear Pink” shows a couple, modeled on the artist and his boyfriend, with nooses above their heads.

The Afghan artists participated in collaborations that yielded video and audio works that contemplate cultural and religious differences. The art made by the Afghans alone tends to be more traditional. Setareh Salehi Arashloo’s “Knitted Camp” series consists of evocative drawings in black ink with gray and white washes; Jalil Barati’s abstract drawing-collages each incorporate a photo of a woman in customary Afghan dress. These aren’t the show’s most provocative entries, but they are among the most elegant.

Accidental Reality; Crossing the Distance on view through March 31 at Gibbs Street and Kaplan galleries, Visarts at Rockville, 155 Gibbs St., Rockville; 301-315-8200, www.visartsrockville.org.

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A glimpse of what Washington Project for Art's auction gala has in store

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Published Friday, March 15th, 2013 in The Washington Post print edition and online at www.washingtonpost.com


By: Mark Jenkins, Freelance Writer

Nancy Donnelly

D.C. artist Nancy Donnelly does landscapes, still lifes and figure studies, all traditional genres. But hers have an added aspect, because they’re translucent. Six years ago, Donnelly began working in glass, which makes even the thinnest of her works sculptural. “Transmission,” her show at VisArts at Rockville’s Common Ground Gallery, encompasses rectangular compositions with just a hint of depth, pieces in which certain elements protrude from the plane and works that are fully three-dimensional.

The last category includes flower arrangements such as “Bouquets,” whose simplified forms suggest pop art’s directness but whose colors subtly shift along the length of the glass fronds. Among the near-flat objects are nature scenes such as “Sea and Sky I” and the more abstract “Tribute to William Morris,” a homage to the Victorian-era designer and theorist that employs a subtle black and green palette. Perhaps the most striking sculptures are those in which well-rounded female nudes, rendered in bluish or greenish glass, emerge from contrastingly hued blocks. They’re metaphors for creation and liberation, making them pertinent not just to one artist who has found her medium.

Transmission on view through March 24 at Common Ground Gallery, VisArts at Rockville, 155 Gibbs St., Rockville; 301-315-8200; visartsatrockville.org.


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Kenneth Martin's furniture for the fanciful

The Washington Post
Published Thursday, February 7th, 2013 in The Washington Post print edition and online at www.washingtonpost.com

By: Mark Jenkins, freelance writer

(Courtesy John R. G. Roth and VisArts) - John R. G. Roth. "Faceted Conveyance," 2011, Rigid foam, sheet metal, resin, aluminum.

Furniture is devolving and vehicles are becoming reptilian in two shows at VisArts at Rockville, in which practical skills turn intriguingly impractical. Kenneth Martin's "Sculpture and Casework," upstairs in the complex's Kaplan Gallery, includes examples of the cabinetmaker's regular work but is devoted mostly to pieces that defy usefulness. John R.G. Roth's "Polymorphic Conveyance," downstairs at the Gibbs Street Gallery, draws on the sculptor's background as a research lab's prototype maker but has a mad scientist's aesthetic.

Martin's exhibition includes four pieces of actual furniture, which demonstrate his finesse. After that, things get messy. The Maryland sculptor constructs ungainly stacks of found objects, or inserts blocks of finished lumber into larger slabs of raw wood; slats protrude from boards, and thin poles trail like tentacles. Martin sometimes shapes his material into clean, simple shapes: "Night Country Road" is a half-circle of ebonized oak, with a post at one end. Similarly elegant is "Big Bender," the show's largest piece, and the only one made entirely of metal. Two towering steel arcs splay from a column wrapped in metal fencing. Characteristically, the piece's steel limbs are not symmetrical. It seems that Martin gets his fill of equilibrium when crafting chests, tables and writing stands.

The two most common elements in Roth's show are wheels and sheet-metal skins that give the impression of scales. His "conveyances" have the sheen of fish, or perhaps some forgotten breed of aquatic dinosaur. (One glistening, headless critter is titled "Cretaceous Mode.") Roth, who teaches sculpture in Norfolk, combines the organic and the mechanical: "Surreptitious Return" is sort of a Loch Ness Foot, guided by small propellers; "Divine Imperial Commuter" is part tank, part lizard, part 5:05 to Manassas; and "Crux Navis" is a shiny-scaled ship with a cross for a sail, floating on a plexiglass sea.

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Art in the 'burbs

The Washington Post
Published Thursday, January 24th, 2013 in The Washington Post print edition and online at www.washingtonpost.com

By: Michael O'Sullivan

"Trebled Conveyance," by sculptor John R.G. Roth, is part of "Polymorphic Conveyance," on view through Feb. 23 in VisArts's Gibbs Street Gallery. John Roth

Most plugged-in art aficionados already know there's visual culture outside the city, exemplified by such artsy hot spots as the Arlington Arts Center, Artisphere and the Torpedo Factory Art Center.

But the suburban gallery scene extends well beyond Arlington and Alexandria. Check out Friday's Weekend section, and the gallery above, for a guide to 10 cool art spaces - five in Maryland and five in Virginia - that are worth a trip, whether you live downtown or just down the road.

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