The 48th Corcoran Biennial
In discussing the 48th Corcoran Biennial with the curators, one encounters the words "traditional" and "earnest" quite often, and after a couple of rounds through the exhibit, it may be a bit if a head scratcher for some to try to figure out exactly where "tradition" fits in.
But like those color dot eye tests that are given to determine color blindness, once the clever thread that holds this exhibition together is discovered, then and only then can one see what co-curators Stacey Schmidt and Dr. Jonathan Binstock have accomplished in the 2005 version of the Biennial.
Titled "Closer to Home," the exhibition gathers fifteen artists from an initial field of around 150 artists initially considered by the curators. The title is both a metaphor for what Binstock and Schmidt attempt to accomplish (a return to more traditional artwork) as well as a signpost to show that the curators are proud of the fact that four of the fifteen artists selected are from our area (that’s three more than the sole DC area artist included in the previous Biennial). Our kudos to the curators for this sensitivity and awareness of Washington area artists.
But finding and examining the thread that unifies this exhibition is the prime objective of my discussion of the show. The second issue is the discovery that seldom has a genre (in this case photography) imposed itself so quickly and firmly, heads above the rest of the other forms of art included in this show. To tip my card early: photographers stole this show.
Sculptural Offerings and Other Oddities
Start by not missing the huge sculpture by Chakaia Booker on the extreme right wall of the ground floor.
Made of torn black tires, it is surprising organic and even visceral when you get right close to it. In the catalog, Schmidt writes that "the worn treads are particularly evocative, and Booker emphasizes their rich textural quality through her deft deployment of repetition." I don’t know about that, but in more plebian language, the artist (by the way, who could walk into any Star Wars movie or any Star Trek set in the world) has morphed the qualities of the discarded rubber into a believable sculpture support system, that (like Michelangelo’s David) seems almost alive and able to move. It was a good choice for inclusion in this show, and it was one of my early favorites in the exhibition, although I wish it could have been placed somewhat closer to the rest of the works, as I am afraid that its present location may make some visitors miss it.
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