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Wilderness Bureau Presents: Quantum Fiction

From A Creative DC
By Morgan H. West
June 18, 2015  |  weblink

We've long been fans of Wilderness Bureau – whether they're producing videos featuring (your soon-to-be-favorite) bands for WAMU's, designing 3d typography pieces, or just posting amazing portraits and project previews on Instagram, they're a collective worth keeping an eye on. We were glad, then, to have caught up with WB's Victor Aguilar in advance of QUANTUM FICTION, a group show presented by Wilderness Bureau, and featuring the work of three artists – Christine Gray, Marissa Long, and John Whitlock – all of whose work center around themes of an alternate reality, the fantastic, and the surreal. The show opens Saturday evening at Furthermore, in the 52 O Street Artist Studios, and is up through the end of July.


“Mood Board”

From Washington City Paper
By Kriston Capps
February 27, 2015  |  weblink

Shadow. Texture. Magnetic. Precise. Mood boards have got a lot of that going on. Concepts and descriptors married to images to evoke a vision. Line. Form. Like a word cloud that takes the form of a cluster of pictures. Structure. Elegance. Mood boards run right up to the border of business but still fall narrowly within the territorial borders of creativity. They’re collages whose audience is the client, not the viewer.


Worth the Galleries: The Best Contemporary Art of 2014

From Washington City Paper
By Kriston Capps
December 22, 2014  |  weblink

To find the very best new work in D.C., though, viewers had to stray far and wide from the National Mall. Whereas the 14th Street NW corridor used to be the reliable hub for the city’s art scene, now its galleries are spread out among all four quadrants. The following list is by no means an encyclopedic compilation of great art shows from 2015. But these exhibitions proved that, despite the loss of a few commercial galleries, the city’s art ecosystem is still alive and relevant.


Dean Kessmann, H.W. Janson and 'A Layered History of Art'

From Huffington Post
By Julie Chae
June 5, 2014  |  weblink

Historians of art attempt to tell the story of our past by studying the cultural remnants left behind. It is usually impossible to recover a complete, irrefutable picture of what happened -- facts and stories lost with the passage of time are difficult to retrieve, requiring painstaking research in archives or slow, careful excavation. Even then, reconstruction happens in bits and pieces. To engage continuously in this endeavor requires something akin to faith.


“A Layered History: From Semitransparent to Opaque”

From Washington City Paper
By Kriston Capps
June 4, 2014  |  weblink

“A Layered History,” a new photo sculpture by Dean Kessmann on view at Furthermore, is a physical accomplishment, that’s for sure. A nearly seamless print (it’s actually two), the photo-collage is mounted on a 40-foot curved wooden support that spans the gallery. It’s a bibliographic achievement as well: Kessman scanned all 1,184 pages of H.W. Janson’s History of Art, from the acknowledgments to the index, and collaged them semitransparently, recto to verso, in the file that inspired the print.


52 O Street Open Studios

From The Studio Visit
By Jane Claire Remick
May 15, 2014  |  weblink

...But I hadn’t come to the Open Stu­dios as a col­lec­tor. I came as a fel­low local artist, a friend, and — for the first time — a for­mer ten­ant of what is a fast-changing space. The event serves a mul­ti­tude of pur­poses, from sell­ing moderately-priced small works, to pro­vid­ing expo­sure for artists to poten­tial col­lec­tors or even address­ing ques­tions of com­mu­nity engage­ment. How­ever, the oppor­tu­nity to see and touch mate­ri­als that my peers are work­ing with, wit­ness the begin­nings of new bod­ies of works and sit with the growth of projects hav­ing been devel­oped over the pre­vi­ous twelve months has become some­what of a rare and sat­is­fy­ing rit­ual for me. 


A Layered History: From Semitransparent to Opaque

From Washington Post
By Michael O'Sullivan
May 9, 2014  |  weblink

Dean Kessman’s photography, which has involved such alternative technology as flatbed scanners and printing at an almost architectural scale, stretches the art form’s traditional definition. 


The Great Divide

From The Washington City Paper
By Kriston Capps
April 25, 2014  |  weblink

In a fit of coolness, Corcoran students and faculty (and many others from the Washington community) mounted a project in March called the McGyver School of Art + Design. In the back of a moving truck parked at 9th and U streets NW, McSAD faculty interviewed prospective members of the class of 2018 on what an art school should be.


Houseguest: José Ruiz

From Pitchfork Studio
By Chelsea Huang
February 12, 2014  |  weblink

He prints.
He curates.
He teaches.
He makes things happen.

José Ruiz’s upbringing almost led him to a career in public policy… almost. But Pitchfork’s first houseguest isn’t on the Hill; he’s working out of a sleek loft in NOMA as one of the area’s leading creatives.


Reuben Breslar, "Beachy"

From Peri0d
By Reuben Breslar
December 30, 2013  |  weblink

This 4 hour Happening included 5 fans, 1 space heater, 8 ½ x 11” paper, 2 music soundtracks, 2 video projections, a drop-cloth-constructed-tent as a changing area, 25 deck chairs,10 performers, an audience and alcohol.There were a lot of moving parts in the show and it was all a learning process for me to put it together. I have never done anything like “Beachy” before. I had done stand-alone installations and performance-based art before, but never the fusion of the two. I also didn’t know what to expect working with a cast of 10 people and then both José and James, the owners of Furthermore. It was 3 months of planning and 2 intense weeks of set-up. I ended up feeling more like a producer or director than an artist by the end of it.  But it was all so wonderful. The day of the event everything came together and I was blown away by the talent level in the space that night.  


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