JANUARY 2005 - ART-O-MATIC TOP 10 EXHIBIT
January 21 - February 16, 2005
A group exhibition by several invited artists that participated in the Art-O-Matic 2004 open exhibition, selected by Fraser Gallery owners, Catriona Fraser and F. Lennox Campello. An opening reception for the artists will be held on Friday, January 21 from 6pm - 9pm. This exhibit is part of a three-gallery joint exhibition of Art-O-Matic artists. The other two galleries are the Anne C. Fisher Gallery, also in Georgetown's Canal Square and our Fraser Gallery Bethesda. Our invited artists include: Margaret Dowell, Allison B. Miner, Matt Dunn, Mark Jenkins, Joseph Barbaccia, M. Rion Hoffmann, Michal Hunter, Michael Janis, Tim Tate, Syl Mathis, BJ Anderson, John Bata, Ira Tattelman, Chris Edmunds, Thomas Edwards Mary Beth Ramsey, Alison Sigethy and Denise Wolff. Of these, Dowell, Wolff and Dunn will be exhibiting at Fraser Georgetown, while the others will be at Fraser Bethesda.
Open Book by Denise Wolff
Drag King Ken by Margaret Dowell
Healer by Matt Dunn
MARCH 2005 - LIDA MOSER
March 18 - April 13, 2005
Read the Washington Post review of the exhibition here.
Read the Washington City Paper review of the exhibition here.
With an opening reception on March 18, 2005 and continuing through April 13, 2005, the Fraser Gallery Georgetown gallery is honored to host the first ever Washington, DC solo exhibition of legendary American photographer Lida Moser, who now lives in retirement in nearby Rockville, Maryland.
This 85-year-old photographer is not only one of the most respected American photographers of the 20th century, but also a pioneer in the field of photojournalism. Her photography is currently in the middle of a revival and rediscovery, and has sold recently as high as $4,000 at recent Christie's auctions and continues to be collected by both museums and private collectors worldwide. In a career spanning nearly 60 years, Moser has produced a body of works consisting of thousands of photographs and photographic assemblages that defy categorization and genre or label assignment.
Additionally, Canadian television is currently in the process of filming a documentary about her life; the second in the last few years, and Moser’s work is now in the collection of nearly 40 museums worldwide.
A well-known figure in the New York art scene of the 1950s and 1960s, a portrait of Lida Moser by American painter Alice Neel hangs in the permanent collection of the Metropolitan Museum in New York City. One of them will be included in the National Museum of Women in the Art's "Alice Neel's Women" coming to Washington, DC this October.
Lida Moser's photographic career started as a student and studio assistant in 1947 in Berenice Abbott's studio in New York City, where she became an active member of the Photo League. She then worked for Vogue, Harper's Bazaar, Look and many other magazines throughout the next few decades, and traveled extensively throughout the United States, Canada and Europe.
Man Sitting Across from Berenice Abbott's Studio, Greenwich Village (Commerce Street), NYC c.1948
In 1950 Vogue, and (and subsequently Look magazine) assigned Lida Moser to carry out an illustrated report on Canada, from one ocean to another. When she arrived at the Windsor station in Montreal, in June of that same year, she met by chance, Paul Gouin, then a Cultural Advisor to Duplessis government. This chance meeting led Moser to change her all-Canada assignment for one centered around Quebec.
Armed with her camera and guided by the research done by the Abbot Felix-Antoine Savard, the folklorist Luc Lacourcičre and accompanied by Paul Gouin, Lida Moser then discovers and photographs a traditional Quebec, which was still little touched by modern civilization and the coming urbanization of the region. Decades later, a major exhibition of those photographs at the McCord Museum of Canadian History became the museum’s most popular exhibit ever.
Quebec Children, Gaspe Pen, Valley of The Matapedia, Quebec, Canada. c.1950
She has also authored and been part of many books and publications on and about photography. She also wrote a series of "Camera View" articles on photography for The New York Times between 1974-81. Her work has been exhibited in many museums worldwide and is in the permanent collection of the National Portrait Gallery, London, the National Archives, Ottawa, the National Galleries of Scotland, National Portrait Gallery, Washington, DC, the Library of Congress, Les Archives Nationales du Quebec, Corcoran Gallery, Phillips Collection and many others. Moser was an active member of the Photo League and the New York School.
The Photo League was the seminal birth of American documentary photography. It was a group that was at times at school, an association and even a social club. Disbanded in 1951, the League promoted photojournalism with an aesthetic consciousness that reaches street photography to this day.
Alice Neel with Painting of Daughter-in-Law. c.1971
Judy and the Boys (Mimicry) Gelatin Silver Print c. 1961 11 x 14 inches matted and framed to 16 x 20 inches
This will be her first solo exhibition in Washington, DC and it will run from March 18 through April 13, 2005.
More works by Lida Moser >>
Digitally constructed photographs by Viktor Koen. This will be the DC solo debut by Koen, a member of the Faculty of the Parsons School of Design, in New York. The 2003 First Prize winner in the Digital Hall of Fame in Stockholm, Sweden, Koen contructs photographs through a digital sampling process that deliver works that are surreal and macabre. His works have been exhibited worldwide, including at the International Digital Biennale in St. Petersburg, Russia, the Kiyosato Museum of Photographic Arts, Japan, the Rocky Mountain Digital Arts Center, Denver, the Jerusalem Museum of Art, Jerusalem, Israel and the Macedonian Museum of Contemporary Art, Thessaloniki, Greece. An opening reception was held on Friday, April 15 from 6pm - 9pm. Read the Washington City Paper review of the show here and more reviews here.
Vanity Study No. 39
More works by Viktor Koen >>
MAY 2005 - GABRIELA BULISOVA
May 20 - June 15, 2005
Photographs by Gabriela Bulisova, winner of the 2005 Bethesda International Photography Competition. This will be the DC solo debut by Bulisova. An opening reception was held on Friday, May 20 from 6pm - 9pm. Read the Washington City Paper review here
Maria - Mother of a Chernobyl Liquidator by Gabriela Bulisova
JUNE 2005 - ANDREW DEVLIN
June 17 - July 13, 2005
Drawings by Andrew Devlin, winner of the 2004 Georgetown International Art Competition. An opening reception was held on Friday, June 17 from 6pm - 9pm. See the exhibition and more work online here. Read the article on Devlin by Eliza Findlay in The Connection newspapers here, and a second article by Beverly Crawford in the Times Community newspapers here
JULY 2005 - 9TH ANNUAL GEORGETOWN INTERNATIONAL FINE ARTS COMPETITION
July 15 - August 17, 2005
Our annual call for artists, curated this year by Jack Rasmussen, Director and Curator of the American University's Katzen Arts Center's Galleries. Prospectus and information for interested artists here. An opening reception for all selected artists will be held on Friday, July 15 from 6pm - 9pm.
"Persons No. 4"
"Pencil Sharpener: Sun Wu Kung"
"Rainy Window Self-portrait"
"1.8 Difference: Hanging No.2"
Sarah Savier Pike
"Green on Green on Green"
AUGUST 2005 - MARK JENKINS
August 19 - September 14, 2005
Photographs and Tape sculptures by acclaimed Washington, DC sculptor and street artist Mark Jenkins.
SEPTEMBER 2005 - ZYGIMANTAS AUGUSTINAS
September 16 - October 19, 2005
Paintings by Zygimantas Augustinas. An opening reception was held on Friday, September 16 from 6pm - 9pm.
Thirtysomething" 2004-2005, oil on canvas, 100 x 70 cm
"Magdalena's Regret" 2004, oil on canvas, 90 x 50 cm
"Woman with Paprika" 2002-2003, oil on canvas, 70 x 80 cm
"The Sitting One" 2004, digital print with touch of oil paint, 125 x 85 cm
"Faun" 2004, graphite pencil on paper, 64 x 44 cm
OCTOBER 2005 - ANDREW WODZIANSKI
October 21 - November 16, 2005
Paintings by Andrew Wodzianski. An opening reception was held on Friday, October 21 from 6pm - 9pm. Read the review in the City Paper here.
Four words every artist dreads to hear: "I don’t get it."
Andrew Wodzianski (a DC artist and Assistant Professor at the College of Southern Maryland) hopes that he can eliminate these words with Lucha Libre!, his second solo exhibition at Georgetown’s Fraser Gallery. How? Throughout the duration of the thirteen painting exhibit (Oct. 21 – Nov. 16, 2005), Wodzianski is implementing new technology that allows his viewers unique opportunities to interact with, and respond to, the artist and his artwork. The hi-tech approach includes the use of podcasts, cell phones, and other wireless devices for would-be critics to leave their own commentary.
Podcasts and cell phones in an art gallery?
"Art is essentially a form of communication – and at no time in human history has technology allowed for such an immersive and intelligent participation in the communication between art, artist, and audience," says Wodzianski. To underscore that point, he is preparing a podcast – an audio commentary meant to be played on an MP3 player or computer – that will be available for download before the show’s opening reception on Friday Oct. 21, 2005 from 6-9PM.
Think of this as an audio tour among the artwork, from the artist himself. Wodzianski’s podcast (make that - Wodcast!) will help listeners decipher the story behind the largely narrative paintings, explain techniques, and reveal inspirations. MP3 players preloaded with the Wodcast will be available at the reception, and attendees with their own player can download the file onsite during the opening reception.
Furthermore, as part of the exhibition, Wodzianski is inviting gallery attendees to provide their own commentary. Wodzianski and associates have developed a free service for anyone with a cellular phone to call and record their own podcast, describing their thoughts and feelings the work is evoking. These recordings will be published immediately at the Wodcast website (wodcast.blogspot.com), allowing participants to share their critiques with those in attendance or absent.
Visitors to the show who would not be not listening to podcasts can still interact with the artist’s work through Yellow Arrows.
What is/are Yellow Arrows?
Yellow Arrow is a new concept in mobile interactivity. When a Yellow Arrow placard is found pointing to a painting, a cellular phone user can send a text message to a provided number, and discover comments left by previous viewers. Texters can also leave their own message; opinions about the artwork – or maybe the artist himself.
Will this be an exercise in popular culture invading the traditional appreciation of art, or a sign of the natural evolution in the field? The artist, for one, believes it will be the latter.
"With the advent of these new tools, artists can interact with viewers using sound, text and visuals that would otherwise be impossible outside a museum setting," says Wodzianski. "It narrows the gap between the art elite, and the casual gallery visitor. Everyone has an opinion and throughout this exhibit, each opinion is equally represented. And frankly, it’s a lot of fun."
'Brothers 1' oil on canvas 24 x 48"
'Brothers 2' oil on canvas 24 x 48"
'House 1' oil on canvas 48 x 24"
'Lucha Libre! 1' oil on canvas 24 x 48"
'Lucha Libre! 2' oil on canvas 24 x 48"
'Mercy' oil on canvas 48 x 30"
'Motive' oil on canvas 48 x 30"
'Red 1' oil on canvas 60 x 36"
'Red 2' oil on canvas 48 x 24"
NOVEMBER 2005 - SCOTT HUTCHISON
November 18 - December 14, 2005
VideoPaintings by Scott Hutchison walk new ground as this talented artist carries the media of painting across to the video genre. An opening reception was held on Friday, November 18 from 6pm - 9pm.
Hutchison combines traditional painting and digital technology to create animated portraits, which are displayed on small LCD panels, or projected, large-scale. Dozens of individual paintings portray the artist's face, changing only slightly from one image to the next. When the images are unified digitally, an animation is created, not drawn, but painted in oil.
While paint and animation dominate the technical side of Hutchison's work, conceptually, Hutchison explores identity and introspection through an examination of his portrait or segments thereof. Some works illustrate an expressionless face, while others show his mouth with extreme, often threatening expressions. The viewer is left to guess which of these works reveal the artist's true character, and can contemplate the notion of a shifting personality, as Hutchison's face changes slightly, or contorts drastically.
Hutchison's work consists of multiple painted self-portraits that, although similar, possess slight variations of color and brush-mark. When animated, the paint appears to move across the surface, resulting in a portrait that is in constant flux. Eyes blink, mouths chatter and teeth chomp while colors flash across the painted surface, but disclose none of the artist's thoughts.
DECEMBER 2005 - F. LENNOX CAMPELLO
December 16, 2005 - JANUARY 18, 2006
John the Baptist, charcoal on paper, 3x9 inches, c.2005
Two Nuns in a Window, charcoal on paper, 3x6 inches, c.2005
An Unmarried Woman, charcoal on paper, 5x4.5 inches, c.2005
© 1996 - 2006 Fraser Gallery