gallery neptune & brown | Storytelling | Washington DC


Mickalene Thomas, Trois Divas (AEIOU and sometimes Y), 2009.  A set of three screenprints with hand-applied rhinestones.  Image: 12 x 12 inches
Mickalene Thomas, Trois Divas (AEIOU and sometimes Y), 2009. A set of three screenprints with hand-applied rhinestones. Image: 12 x 12 inches

September 11 – October 16, 2021

gallery neptune & brown

In-Person Viewing:
1530 14th Street NW, Washington, DC 20005 USA

Virtual Viewing:

William Kentridge’s work uses the narrative structures of storytelling and the performing arts to create his prints. The Lulu Plays is a portfolio based on work created for the opera of the same name by Alban Berg. Kentridge creates an interplay between the narrative structure of the opera and the visual interpretation of the characters’ motivations. On the other end of the spectrum is  Christiane Baumgartner. She describes herself as a conceptual artist. The act of art-making is in the conception and experimentation in each series. It is then up to the viewers to impose their own story onto the work. Also a conceptual artist, Peter Downsbrough takes from the built environment and uses visual poetry to affect the viewer’s perception of space and time. Like a poet might use blank spaces in the presentation of a  poem, Downsbrough’s work creates similar tension between text, shapes, and empty space. 

Mickalene Thomas’ portraiture provides a counter-narrative to historical portraiture. In Trois Divas, she focuses on black women or “muses” as she calls them, to convey images of complexity, empathy, and exuberance. Thomas employs the visual vocabulary of “traditional” western art history. Influenced by the compositions and structures in the work of artists like Eduard Manet and Henri Matisse, Thomas creates this nuanced story of black life so often marginalized in art history and Euro-American history. Adam Pendleton’s  Not Against the Memories is an intertextual piece, in conversation with David Lamela’s The Violent Video  Tapes (1975), a fictional film about the language of cinema. In Pendleton’s three prints, the color is altered from the original black and white. The result is a story about a woman isolated from the context around her and how her image is manipulated into commercial use or social commentary – both themes that run through  Pendleton’s oeuvre. 

A Brothers Grimm-like sense of dis-ease pervades Kiki Smith’s work. From the early 90s, Smith’s focus turned toward the effects climate change had on nature. Smith addresses this preoccupation in Variety Flowers by imbuing the flowers with a delicate posture. Per Kirkeby, a Danish artist who originally trained as a geologist also constructs tales of the natural world. He talks about his practice of using canvas as his land and the paint as the soil, the flowers, and the other natural elements that grow from the land.  

While a story can be told on one canvas or in one print, these portfolios allow for deeper exploration. Concept albums, novels, short story, and poem collections all use similar structures to dig into a particular theme. As  Joan Didion said, “we tell ourselves stories in order to live.” The root of the statement was one of survival.  Deeper than using stories to entertain, we use storytelling to weave together imagery and to interrogate the  “ideas” that course through human experience. 

Storytelling will be on view in the gallery from September 11th to October 16th, 2021. For further information or images please contact Christine Neptune at [email protected] or 202.986.1200. 

Please note: there will be no opening reception for this exhibition. 

Masks/face coverings are required to enter the gallery.

ExhibitionsOctober 2021September 2021Virtual