BGuthrie Photos: VA -- Rosslyn -- Artisphere

VA -- Rosslyn -- Artisphere:

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. ARTIS_101211_108.JPG: Tim Kerr Austin, TX Tim Kerr's vivid memories of his 1960s elementary school experience in Texas have a distinct, enduring influence on his work. Tim also draws inspiration from the comic-style drawings on instructional cards -- how to brush your teeth, old math flash cards, and science charts -- and, in his own paintings, includes instructions for us regarding the people and heroes that he believes we should admire. His paintings of these icons -- among them John Coltrane, Rosa Parks, and Lou Gehrig -- contain brief narratives or quotes from the featured icon, an effort to perpetuate the same spirit of social change that his subjects championed: "I think by representing everyday people, famous or not, who were involved in social change -- music, art, and just life -- I just might plant that same seed in someone else and show them that we are all indeed making history." Tim, who was born and raised in Texas, mostly paints on cardboard, school maps, chalkboards and wood. His work has been known to include everything from house paint, acrylic and tempera paints to oil sticks, crayons, pencils and pens. The equation and vocabulary that make up the final result derive from his childhood as well as his involvement in the graffiti/DIY/punk/hardcore/skateboard community since the late-1970s.
2. ARTIS_101211_136.JPG: Ryan Nelson Washington, DC & Kalamazoo, Michigan Ryan Nelson opted to leave the confines of art school academia to pursue his passion for comics in his paintings and drawings. Using a DIY (Do-It-Yourself) mentality, he appropriates the comic style by silk screening posters, fliers and album covers promoting his own band, and the bands of others. Nelson, himself a huge fan of comics, draws inspiration from one of the most cutting-edge comic artists of the twentieth century: Roy Lichtenstein. Nelson utilizes such primitive comic techniques as heavy black lines and a "two-color process" (black, a color, and the white of the paper). Many older comics were printed this way, as it was less expensive than the contemporary four-color ink printing process. (One of Nelson's contemporary influences, Jordan Crane, also uses a two-color process.) But it is the striking palette -- rather than monetary concerns -- that attracts Nelson to this more antiquated style of printing. Nelson's recent work shows a single frame painted on various sized sheets of prepared plywood. These frames each suggest a larger narrative, the resolution of which remains ambiguous. As such, Nelson's incomplete visual stories encourage the viewer to ruminate as to what the previous or next frame might be. His work features characters that resemble himself in predicaments with which might be a girlfriend.
3. ARTIS_101211_151.JPG: Jim Houser Philadelphia, Pennsylvania Although Him Houser does not read comics, his work testifies to the stylistic influence they have on contemporary art and everyday life. The carefully-chosen and composed groupings of text in Houser's paintings -- perhaps poetry cut from an imaginary larger body of text or random words heard in daily life -- evoke taste, feeling of wonderment and amplify the impact of the accumulating images. These visual morsels resemble individual paintings and simultaneously construct more comprehensive themes, the meaning of which are by turns obvious and enigmatic. Houser's collections of text and images are like the golden snippets of conversation or sights you might experience walking down the street and listening to the world around you. Radio waves from electronics -- cell phones, microwaves, television -- feature prominently in Jim's work and visualize the ubiquitous, invisible "cloud" of waves that surround us all.
4. ARTIS_101211_200.JPG: Zach Storm Washington, DC & Baltimore, Maryland Zach Storm's process of creating work unfolds like a storyboard in a comic. He works without formal sketches or plans; instead, he spontaneously illustrates a character or idea and allows these elements to develop as if they occurred in a dream. Characters include fantasy figures, ghosts, humans and animals that often reappear throughout the series. These characters interact with the open air of the paper field and imply a story. Storm creates a shadow effect by drenching the paper with short strokes of watercolor and subsequently cutting parallel charcoal smudges. The text he inscribes on these watercolor islands appears to float above the paper's surface. These "thought bubbles" usually have statements heard by those passing by but are completely out-of-context, sound funny and reveal the stupidity of our own human race. At the 2009 Miami Basel Art Fair, Storm showcased a series of like works that derive a capitalist-driven contemporary art world. This series featured such self-explanatory paintings as "Just as It Looks" and "Of Course You Can Trade Your Lamborghini for it."
5. ARTIS_101211_224.JPG: Oura Sananikone Richmond, Virginia "Without being exposed to comics," Sananikone explains, "my art would undoubtedly be drastically different, or perhaps not even exist at all." Sananikone's work reflects the expressiveness of comics, using bold, black brush strokes both with and without solid color infill. He creates fantasy characters in his paintings, drawings, plush toys and puppet shows that compel the viewer to question the significance of that character's appearance. This wide array of characters -- which include clouds, ghosts, lightning bolts, ninjas, robots, bunnies, birds with top-hats, brains and crystalline motifs -- appear throughout his work. Sometimes Sananikone includes a story board to cohere or explain his narratives; other times, he constructs his paintings to appear as a single, unsettled frame in a comic. The latter structure encourages his audience to interpret the narrative with regard to their own emotions and experiences.
6. ARTIS_101211_263.JPG: Eric Cheevers Washington, DC Eric Cheevers is an award-winning director of films and music videos based in the DC area. He used 16mm film, vintage editing equipment and magnetic tape to create the special 1970s sound quality features in his series of European soft porn spoofs: "Las Historias Mas Sexy Del Mondo!" (Nos. 1 & 2). Stills from these films were then placed in a storyboard and comic book format called a "photo novel" or "fumetti" that accompanies the DVD of the film. Each photographic still becomes a frame, illustrated with word bubbles. The series features a plethora of contemporary, DC-area bands and musicians, including Stewart Lupton from Jonathan Fire*Eater, Ian Svenonius of Nation of Ulysses, Make-Up, Weird War, Chain and the Gang, Scene Creamers; Michelle May, of the Frumpies, Alex Minoff of Scene Creamers; Melissa Farris of Tuscadero; Dame Fate; the Raveonettes from Denmark/New York and many more.
7. ARTIS_101211_285.JPG: Anna U. Davis Washington, DC Anna U. Davis, who grew up in Sweden and presently lives in Washington, DC, proves that the influence of the comic aesthetic extends far beyond the scope of traditional comic book-lovers; until recently, Davis says, she neither read comics nor counted the genre among her influences. Her intricate collages feature both abstract and detailed, realistic imagery that has been collected from contemporary fashion magazines. From afar, the viewer experiences the composition as a series of bold, heavy lines, solid colors and simple shapes. At close range, however, he or she realizes that Davis has used specific, commercial images to create this field of color and line. The repeated use of specific images to create this field of color imbues the illustrated object with greater significance and ambiguous, overarching narratives. In a single panel of work, Davis tells a story using the exaggerated expressions of male and female characters called "Frocasians" -- a person without a distinctive race. Despite the fact that Davis does not draw inspiration directly from comics, her work has been compared to the likes of Roy Lichtenstein and Keith Haring. One of Davis' current projects will go so far as to include another iconic facet of the comic genre: a strong, independent female superhero that travels the world.
8. ARTIS_101211_335.JPG: D. Billy New York, New York D. Billy cuts illustrations and words from instruction manuals, comics, product advertisements and children's activity books. He then recomposes these clippings suggesting a new narrative completely removed from its provenance, yet at times recognizable by the viewer. The playful sensibilities in these cut paper works come to life in public spaces through D. Billy's "site interventions," in which he adds visual representations of sound effects or other text-based elements to public spaces. These ephemeral installations call attention to places and objects perhaps overlooked by the casual passerby. For Party Crashers, D. Billy is exhibiting a number of new mixed media collages, and photographs documenting recent site interventions in New York.
9. ARTIS_101211_351.JPG: Thom Lessner's Silk Screened Assorted Rock Posters
10. ARTIS_101211_357.JPG: Matt Leines Philadelphia, Pennsylvania Matt Leines' began imitating the comic visual style at a young age -- unable to wait for the toy figurines of superheroes eh received for his birthday, he would instead paint his favorites on the sides of building blocks. In college, Matt developed a more complex understanding of the comics when he studied their history and diversity. Leines identifies the Flash Gordon series as a heavy influence, noting the distinct illustrative style and the fact that caption narratives below the paneled drawings -- rather than thought bubbles amidst the images -- are used to describe the scene. Matt's earliest work does away with captions entirely, so the pictures of artwork appears ambiguous. In more recent years, Matt's influences have included Peter Blake, for his use of bright, primary colors; British Pop Artist and "grandfather" of Punk Comics, Gary Panter; Jack Kirby, the "King of Comics" and medieval manuscripts and Indian miniatures as influential visual mediums. In keeping with these narrative influences, Leines creates characters that often reappear throughout his work. Although he works primarily in acrylic, he previously favored ink and water color. The meticulous process he used during that earlier stage -- in which he would first pencil out the main composition before filling the lines with ink and the shapes with color -- recalls contemporary comics and medieval illustration alike. Now, he still omits words and language so as to maintain the ambiguous nature of his work and encourage the viewer to formulate their own interpretation. For the Party Crashers exhibit, Matt created joined paper puppet drawings.. These puppets, based on characters that feature prominently in Leines' other work, gesture to his childhood memories of painting superheroes on the sides of building blocks.
11. ARTIS_101211_378.JPG: Thom Lessner Philadelphia, Pennsylvania Rock bands are a continual theme in Thom Lessner's work. While Thom himself does not read comics, he has adapted the use of black line and solid color -- techniques found in comics -- to depict a teenage boy's views of rock idols. Without a formal education in art, Thom learned to embrace creative spontaneity in his early twenties, when he spent time hanging in San Francisco's graffiti writing scene. Thom also finds inspiration in the world around him, picturing places, friends, music, skateboarding and artists.
12. ARTIS_101211_402.JPG: Iona Rozeal Brown Washington, DC & New York, New York Iona Rozeal Brown's expansive narrative examines and challenges the intricacies of human nature, the body,and female identity through a cross-cultural lens. Using fine black line, filled-in color, pattern, and a cast of characters who weave in and out of her artworks -- much like personalities in a comic -- brown crafts an intricate, mythological web. The flat colors she uses are inspired by an illustration tactic used in Japanese woodblock painting. The newest heroine to inhabit Brown's world is yoshi, a strong female warrior who chariots a big wheel. The name "yoshi" derives from "yoshitoshi" -- the largest great master of the medium. Like all of us, yoshi's faults force he to battle internal demons as well as external threats. One of yoshi's most formidable opponents is EIN -- "everything in not" -- a white, skinny villain that the artist describes as "insecurity personified." Other characters that feature prominently in Bronw's work include: kaede, ana mei, and young androgynous figure inspired by the artist's God Daughter; the Council of Voices, six women who all talk in synch but possess different powers; and the hoochie putti, non-human winged beings.
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Wikipedia Description: Artisphere
From Wikipedia, the free encyclopedia

Artisphere is a cultural center located in the Rosslyn section of Arlington, Virginia.

The Cultural Affairs Division of Arlington County, Virginia organized the new institution, which opened in October 2010. Artisphere occupies the space that previously housed the Newseum until its relocation to Washington, DC on March 3, 2002, as well as a nearby theatre which was orginially build to show motion pictures.

Facilities:

The 62,000 sq ft (5,800 m2) facility was converted at a cost of $6.7 million. The specific facilities include:

* 220-seat Dome Theatre, for concerts and films
* 4,000 sq ft (370 m2) Terrace Gallery, for art exhibits
* WiFi Town Square, with a two-story high video wall
* 3,000 sq ft (280 m2) Ballroom
* 125-seat black box theatre
* 387-seat Spectrum Theatre
* retail space for selling crafts

Operation:

Artisphere will have an annual operating budget of $3.1 million, of which $300,000 will be funded by the Rosslyn Business Improvement District. Programming will include serving as the home of the Washington Shakespeare Company, the Bowen McCauley Dance Company and the National Chamber Ensemble. The Arlington Cinema and Drafthouse and the Alexandria Symphony have also pledged to produce events there, and the ballroom is expected to be used for salsa, swing and social dancing.

The center's name was selected from among those proposed by a opinion poll of Arlington residents. The name is inspired by the geodesic dome that houses one of the theaters.
Bigger photos? To save server space, the full-sized versions of these images have either not been loaded to the server or have been removed from the server. (Only some pages are loaded with full-sized images and those usually get removed after three months.) I still have them though. If you want me to email them to you, please send an email to guthrie.bruce@gmail.com and I can email them to you, or, depending on the number of images, just repost the page again will the full-sized images.
Directly Related Pages: Other pages with content (VA -- Rosslyn -- Artisphere) directly related to this one: [Display ALL photos on one page]:
- 2015_VA_Smudge_150314: VA -- Rosslyn -- Artisphere -- Smudge Expo (80 photos from 2015)
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- 2014_VA_Artisphere: VA -- Rosslyn -- Artisphere (60 photos from 2014)
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- 2012_VA_Artisphere: VA -- Rosslyn -- Artisphere (113 photos from 2012)
- 2011_VA_Peeps: VA -- Rosslyn -- Artisphere -- Peeps Show V (129 photos from 2011)
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Same Subject: Click on this link to see coverage of items having the same subject: [Galleries (Art)]
2010 photos: My office at the main Commerce Department building closed in October and I was shifted out to the Bureau of the Census in Suitland Maryland. It's good to have a job of course but that killed being able to see basically any cultural events during the day. There's basically nothing of interest that you can see around the Census building. Overnight trips this year: Civil War Trust conferences (Lexington, KY and Nashville, TN), and my 5th consecutive San Diego Comic-Con trip (including Los Angeles). Equipment this year: I mostly used the Fuji S100fs until the third one broke and I started sending them back for repairs. Then I used either the Fuji S200EHX or the Nikon D90 until I got the S100fs ones repaired. At the end of the year I bought a Nikon D5000 but I returned it pretty quickly. Number of photos taken this year: about 395,000..
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Photo Contact: [Email Bruce Guthrie].