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X-WR-CALNAME:Maggie Michael: All at Once in Washington DC at G Fine Ar
	t - Eventful
BEGIN:VEVENT
DTSTART:20091122T000000
DTEND:20090103T000000
DTSTAMP:20081126T110718Z
SUMMARY:Maggie Michael: All at Once
DESCRIPTION:  Opening Reception on Saturday November 22\, 2008  Michae
	l's latest body of work marks a dramatic shift towards an abundantly w
	orked surface and the addition of text. Michael employs text to take a
	 leading role in her work while continuing to command paint with large
	 gestures\, controlled pours\, drips and slippages. Michael uses the f
	ilter of language\, from film\, music\, literature and conversation to
	 develop narrative and emotional structure. There are allusions to art
	\, wars\, relationships\, philosophy and the kinds of roles we enact b
	oth public and private.  Her selections from French New Wave films\, l
	ike Resnais' films Hiroshima Mon Amour and Last Year in Marienbad\, an
	d Godard's Weekend\, reflect the passage of time and the malleability 
	of history in the presence of danger\, love\, and art. While watching 
	these films in subtitles\, Michael grasped at the poetic structures of
	 the language and the power in their new context of her paintings. The
	 subtitle phrases relate to their origins\, play scenarios in the mind
	 of the viewer and often pertain to our current political climate.  Mi
	chael implies war\, protest and dramatic change by using Hemingway's t
	itle\, A Farewell to Arms\, its own title an excerpt from dramatist Pe
	ele's poem. The painting itself exhibits the change in her work\; her 
	own painting style veiled mostly by a thick gray covering that reveals
	 only the text. A series of drawings\, Rescue (subtitles) is based on 
	drowning and needing or providing rescue. While subtitles are a sort o
	f life preserver in trying to decode foreign film\, Michael's resource
	s are inspirational to surviving the basic loneliness of the individua
	l.  The title of the show All at Once\, reflects on the difference bet
	ween paintings and the time-based works: film\, literature and music t
	hat are her influences. A person views a painting all at once\; in an 
	instant\, the duration of the experience is chosen by the viewer rathe
	r than by the maker. Although a painting is still\, it does reflect ti
	me's passage while building history. The history of Michael's painting
	s begins with spray paint\; she associates the air of the spray can wi
	th breath and the projection of spoken words leaving the body. The new
	 work references abstract expressionism and the text-based works of Br
	uce Nauman and Ed Ruscha\, artists of nearly the same era as her film 
	influences. Michael's paintings also maintain their own personal histo
	ry that is continually being masked\, surrendered and opened by the ar
	tist.  Maggie Michael lives and works in Washington\, DC. Michael is a
	 recipient of the Joan Mitchell Foundation Painters and Sculptors Gran
	t and an Artist Fellowship from the DC Commission on the Arts and Huma
	nities. She was a resident artist in the Hirshhorn Museum and Sculptur
	e Garden's Artist at Work program in 2006-07. During 2008\, Michael wa
	s awarded an Artist Research Fellowship at the Smithsonian and receive
	d the Trawick Prize from the Bethesda Contemporary Art Awards. Her wor
	k has been featured in At Length magazine and reviewed in The Washingt
	on Post\, Art Papers\, and Art in America. Michael's work is in intern
	ational private and public collections\, including the Hirshhorn Museu
	m and Sculpture Garden\, the Corcoran Gallery of Art\, The University 
	of Maryland\, College Park\, and the US Art in Embassies Program. \n
LOCATION:G Fine Art @ 1515 Fourteenth Street, Washington, District of 
	Columbia 20005 United States
SEQUENCE:1227697638
UID:E0-001-017459134-1
URL:http://eventful.com/E0-001-017459134-1
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