Writing

I have written for The Georgetowner since 2009, where I continue to serve as a features editor and chief art critic. Here are links to a selection of my columns, featuring many of my favorite museum and gallery exhibits from over the years in Washington.

Ari Post

Seeing Nature

“Seeing Nature: Landscape Masterworks” at The Phillips Collection might be the first major exhibit in Washington devoted to landscape painting in the six years I’ve covered arts for The Georgetowner. Why is this?

Brian Dailey: Challenging Our Instincts

When picturing the model of a contemporary artist, a background in international security and arms control is not among the essential qualifications one might envision. But Brian Dailey defies conventions as an artist and as an individual, and so it is that his wide-ranging projects persistently challenge the very nature of preconception.

A Sanctuary for Apparitions, in Bronze

Here is an unprecedented opportunity to get a look at the innovations of Hellenistic sculptors. It also offers an elusive encounter between abstract beauty and stunning realism, unveiling universal threads of fragile emotion that forge personal connections with individual people that have been dead for over two millennia. It is a stirring, strange and almost religious experience.

Wonder at the Renwick

The large-scale installations that make up this exhibit create a bridge to connect the art with the very space we occupy, so that we are not just looking at something, but wrapping ourselves in it, existing both in and as a part of the work.

Irving Penn: Beyond Beauty

Irving Penn is one of the most iconic photographers of our time. Both a commercial and art­house sensation throughout a greater portion of the 20th century, he is among the rare breed of artists who successfully survived for his entire career in the narrow, highly combustible space between mainstream and critical popularity.

American Moments at The Phillips Collection

One of the reasons that exhibitions of photography are so satisfying is because we connect with the way history looks and feels, even if the burden of its underlying truths can be painful to confront. History is like Mel Gibson: it’s a beautiful face if you overlook the loathsome, backward ideology it conceals.

Photography: The Memory of Time

Looking at a photograph from the turn of the century requires an act of willful distortion; we must try to imagine how it felt to see a single image in a time when a photograph was comparatively rare, and when we were still learning about how to look at them and what they could teach us.

Mingering Mike

Mingering Mike resonates with the unmediated freeform heritage of folk art, yet it is rooted entirely in popular culture. He brings together these otherwise mutually exclusive worlds, like a native flower found blooming in the cankered brickwork of a downtown alley.

Pollock, Dubuffet and Ossorio

Abstract Expressionism is forever the American art movement, which altered the shift of artistic prominence from Europe to the United States. Angels, Demons and Savages examined this transcontinental arc with an exhibit that focused on the relationships between Jackson Pollock, Jean Dubuffet and Alfonso Ossorio.

Ai Weiwei at the Hirshhorn

The work of Chinese artist Ai Weiwei confronts us with environments, filtering them through prismatic lenses and binding us to the state of our modern times. His exhibit at The Hirshhorn brought his work to Washington for the first time.

An Interview with Mel Bochner

An interview with artist Mel Bochner, upon his exhibit at the National Gallery of Art. “I long ago gave up on the idea that art can change capitalism. But anything that can bring people to greater consciousness about their own experience is positive and, I believe, a step in the right direction.”

A Talk with Sam Gilliam

A talk with Sam Gilliam upon the 90th birthday of The Phillips Collection. “Leonardo da Vinci wasn’t new. It’s the way that, in his context, he used all the information that he had that was very important in that particular moment. No art is really new in that sense.”

Chuck Close at the Corcoran

In the jumbled lexicon of late 20th century fine arts, where endless styles and genres collapse into one another like a landscape of staggered dominos, few artistic voices have emerged with any lasting force. Chuck Close is one of the few.